Tribulation, Immortality, the Mult.i.tude: what remedy of composure do these words bring for their own great disquiet! Without the remoteness of the Latinity the thought would come too close and shake too cruelly.

In order to the sane endurance of the intimate trouble of the soul an aloofness of language is needful. Johnson feared death. Did his n.o.ble English control and postpone the terror? Did it keep the fear at some courteous, deferent distance from the centre of that human heart, in the very act of the leap and lapse of mortality? Doubtless there is in language such an educative power. Speech is a school. Every language is a persuasion, an induced habit, an instrument which receives the note indeed but gives the tone. Every language imposes a quality, teaches a temper, proposes a way, bestows a tradition: this is the tone--the voice--of the instrument. Every language, by counterchange, returns to the writer's touch or breath his own intention, articulate: this is his note. Much has always been said, many things to the purpose have been thought, of the power and the responsibility of the note. Of the legislation and influence of the tone I have been led to think by comparing the tranquillity of Johnson and the composure of Canning with the stimulated and close emotion, the interior trouble, of those writers who have entered as disciples in the school of the more Teutonic English.

For if every language be a school, more significantly and more educatively is a part of a language a school to him who chooses that part. Few languages offer the choice. The fact that a choice is made implies the results and fruits of a decision. The French author is without these. They are of all the heritages of the English writer the most important. He receives a language of dual derivation. He may submit himself to either University, whither he will take his impulse and his character, where he will leave their influence, and whence he will accept their re-education. The Frenchman has certainly a style to develop within definite limits; but he does not subject himself to suggestions tending mainly hitherwards or thitherwards, to currents of various race within one literature. Such a choice of subjection is the singular opportunity of the Englishman. I do not mean to ignore the necessary mingling. Happily that mingling has been done once for all for us all. Nay, one of the most charming things that a master of English can achieve is the repayment of the united teaching by linking their results so exquisitely in his own practice, that words of the two schools are made to meet each other with a surprise and delight that shall prove them at once gayer strangers, and sweeter companions, than the world knew they were. Nevertheless there remains the liberty of choice as to which school of words shall have the place of honour in the great and sensitive moments of an author's style: which school shall be used for conspicuousness, and which for mult.i.tudinous service. And the choice being open, the perturbation of the pulses and impulses of so many hearts quickened in thought and feeling in this day suggests to me a deliberate return to the recollectedness of the more tranquil language. "Doubtless there is a place of peace."

A place of peace, not of indifference. It is impossible not to charge some of the moralists of the eighteenth century with an indifference into which they educated their plat.i.tudes and into which their plat.i.tudes educated them. Addison thus gave and took, until he was almost incapable of coming within arm's-length of a real or spiritual emotion. There is no knowing to what distance the removal of the "appropriate sentiment"

from the central soul might have attained but for the change and renewal in language, which came when it was needed. Addison had a.s.suredly removed eternity far from the apprehension of the soul when his Cato hailed the "pleasing hope," the "fond desire"; and the touch of war was distant from him who conceived his "repulsed battalions" and his "doubtful battle." What came afterwards, when simplicity and nearness were restored once more, was doubtless journeyman's work at times. Men were too eager to go into the workshop of language. There were unreasonable raptures over the mere making of common words. "A hand-shoe! a finger-hat! a foreword! Beautiful!" they cried; and for the love of German the youngest daughter of Chrysale herself might have consented to be kissed by a grammarian. It seemed to be forgotten that a language with all its construction visible is a language little fitted for the more advanced mental processes; that its images are material; and that, on the other hand, a certain spiritualizing and subtilizing effect of alien derivations is a privilege and an advantage incalculable--that to possess that half of the language within which Latin heredities lurk and Romanesque allusions are at play is to possess the state and security of a dead tongue, without the death.

But now I spoke of words encountering as gay strangers, various in origin, divided in race, within a master's phrase. The most beautiful and the most sudden of such meetings are of course in Shakespeare.

"Superfluous kings," "A la.s.s unparalleled," "Mult.i.tudinous seas": we needed not to wait for the eighteenth century or for the nineteenth or for the twentieth to learn the splendour of such encounters, of such differences, of such nuptial unlikeness and union. But it is well that we should learn them afresh. And it is well, too, that we should not resist the rhythmic reaction bearing us now somewhat to the side of the Latin. Such a reaction is in some sort an ethical need for our day. We want to quell the exaggerated decision of monosyllables. We want the poise and the pause that imply vitality at times better than headstrong movement expresses it. And not the phrase only but the form of verse might render us timely service. The controlling couplet might stay with a touch a modern grief, as it ranged in order the sorrows of Canning for his son. But it should not be attempted without a distinct intention of submission on the part of the writer. The couplet transgressed against, trespa.s.sed upon, used loosely, is like a law outstripped, defied--to the dignity neither of the rebel nor of the rule.

To Letters do we look now for the guidance and direction which the very closeness of the emotion taking us by the heart makes necessary. Shall not the Thing more and more, as we compose ourselves to literature, a.s.sume the honour, the hesitation, the leisure, the reconciliation of the Word?

THE LITTLE LANGUAGE

Dialect is the elf rather than the genius of place, and a dwarfish master of the magic of local things.

In England we hardly know what a concentrated homeliness it nourishes; inasmuch as, with us, the castes and cla.s.ses for whom Goldoni and Gallina and Signor Fogazzaro have written in the patois of the Veneto, use no dialect at all.

Neither Goldoni nor Gallina has charged the Venetian language with so much literature as to take from the people the shelter of their almost unwritten tongue. Signor Fogazzaro, bringing tragedy into the homes of dialect, does but show us how the language staggers under such a stress, how it breaks down, and resigns that office. One of the finest of the characters in the ranks of his admirable fiction is that old manageress of the narrow things of the house whose daughter is dying insane. I have called the dialect a shelter. This it is; but the poor lady does not cower within; her resigned head erect, she is shut out from that homely refuge, suffering and inarticulate. The two dramatists in their several centuries also recognized the inability of the dialect. They laid none but light loads upon it. They caused it to carry no more in their homely plays than it carries in homely life. Their work leaves it what it was--the talk of a people talking much about few things; a people like our own and any other in their lack of literature, but local and all Italian in their lack of silence.

Common speech is surely a greater part of life to such a people than to one less pleased with chatter or more pleased with books. I am writing of men, women, and children (and children are not forgotten, since we share a patois with children on terms of more than common equality) who possess, for all occasions of ceremony and opportunities of dignity, a general, national, liberal, able, and ill.u.s.trious tongue, charged with all its history and all its achievements; for the speakers of dialect, of a certain rank, speak Italian, too. But to tamper with their dialect, or to take it from them, would be to leave them houseless and exposed in their daily business. So much does their patois seem to be their refuge from the heavy and mult.i.tudinous experiences of a literary tongue, that the stopping of a fox's earth might be taken as the image of any act that should spoil or stop the talk of the a.s.sociated seclusion of their town, and leave them in the bleakness of a larger patriotism.

The Venetian people, the Genoese, and the other speakers of languages that might all have proved right "Italian" had not Dante, Petrarch and Boccaccio written in Tuscan, can neither write nor be taught hard things in their dialect, although they can live, whether easy lives or hard, and evidently can die, therein. The hands and feet that have served the villager and the citizen at homely tasks have all the lowliness of his patois, to his mind; and when he must perforce yield up their employment, we may believe that it is a simple thing to die in so simple and so narrow a language, one so comfortable, neighbourly, tolerant, and compa.s.sionate; so confidential; so incapable, ignorant, unappalling, inapt to wing any wearied thought upon difficult flight or to spur it upon hard travelling.

Not without words is mental pain, or even physical pain, to be undergone; but the words that have done no more than order the things of the narrow street are not words to put a fine edge or a piercing point to any human pang. It may even well be that to die in dialect is easier than to die in the eloquence of Manfred, though that declaimed language, too, is doubtless a defence, if one of a different manner.

These writers in Venetian--they are named because in no other Italian dialect has work so popular as Goldoni's been done, nor so excellent as Signor Fogazzaro's--have left the unlettered local language in which they loved to deal, to its proper limitations. They have not given weighty things into its charge, nor made it heavily responsible. They have added nothing to it; nay, by writing it they might even be said to have made it duller, had it not been for the reader and the actor. Insomuch as the intense expressiveness of a dialect--of a small vocabulary in the mouth of a dramatic people--lies in the various accent wherewith a southern citizen knows how to enrich his talk, it remains for the actor to restore its life to the written phrase. In dialect the author is forbidden to search for the word, for there is none lurking for his choice; but of tones, allusions, and of references and inferences of the voice, the speaker of dialect is a master. No range of phrases can be his, but he has the more or the less confidential inflection, until at times the close communication of the narrow street becomes a very conspiracy.

Let it be borne in mind that dialect properly so called is something all unlike, for instance, the mere jargon of London streets. The difference may be measured by the fact that Italian dialects have a highly organized and orderly grammar. The Londoner cannot keep the small and loose order of the grammar of good English; the Genoese conjugates his patois verbs, with subjunctives and all things of that handsome kind, lacked by the English of Universities.

The middle cla.s.s--the _piccolo mondo_--that shares Italian dialect with the poor are more strictly local in their manners than either the opulent or the indigent of the same city. They have moreover the busy intelligence (which is the intellect of patois) at its keenest. Their speech keeps them a sequestered place which is Italian, Italian beyond the ken of the traveller, and beyond the reach of alteration. And--what is pretty to observe--the speakers are well conscious of the characters of this intimate language. An Italian countryman who has known no other climate will vaunt, in fervent plat.i.tudes, his Italian sun; in like manner he is conscious of the local character of his language, and tucks himself within it at home, whatever Tuscan he may speak abroad. A properly spelt letter, Swift said, would seem to expose him and Mrs Dingley and Stella to the eyes of the world; but their little language, ill-written, was "snug."

Lovers have made a little language in all times; finding the n.o.bler language insufficient, do they ensconce themselves in the smaller?

discard n.o.ble and literary speech as not n.o.ble enough, and in despair thus prattle and gibber and stammer? Rather perhaps this departure from English is but an excursion after gaiety. The ideal lovers, no doubt, would be so simple as to be grave. That is a tenable opinion.

Nevertheless, age by age they have been gay; and age by age they have exchanged language imitated from the children they doubtless never studied, and perhaps never loved. Why so? They might have chosen broken English of other sorts--that, for example, which was once thought amusing in farce, as spoken by the Frenchman conceived by the Englishman--a complication of humour fict.i.tious enough, one might think, to please anyone; or else a fragment of negro dialect; or the style of telegrams; or the masterly adaptation of the simple savage's English devised by Mrs Plornish in her intercourse with the Italian. But none of these found favour. The choice has always been of the language of children. Let us suppose that the flock of winged Loves worshipping Venus in the t.i.tian picture, and the n.o.ble child that rides his lion erect with a background of Venetian gloomy dusk, may be the inspirers of those prattlings. "See then thy selfe likewise art lyttle made," says Spenser's Venus to her child.

Swift was the best prattler. He had caught the language, surprised it in Stella when she was veritably a child. He did not push her clumsily back into a childhood he had not known; he simply prolonged in her a childhood he had loved. He is "seepy." "Nite, dealest dea, nite dealest logue."

It is a real good-night. It breathes tenderness from that moody and uneasy bed of projects.

A COUNTERCHANGE

"Il s'est trompe de defunte." The writer of this phrase had his sense of that portly manner of French, and his burlesque is fine; but--the paradox must be risked--because he was French he was not able to possess all its grotesque mediocrity to the full; that is reserved for the English reader. The words are in the mouth of a widower who, approaching his wife's tomb, perceives there another "monsieur." "Monsieur," again; the French reader is deprived of the value of this word, too, in its place; it says little or nothing to him, whereas the Englishman, who has no word of the precise bourgeois significance that it sometimes bears, but who must use one of two English words of different allusion--man or I gentleman--knows the exact value of its commonplace. The serious Parisian, then, sees "un autre monsieur;" as it proves anon, there had been a divorce in the history of the lady, but the later widower is not yet aware of this, and explains to himself the presence of "un monsieur"

in his own place by that weighty phrase, "Il s'est trompe de defunte."

The strange effect of a thing so charged with allusion and with national character is to cause an English reader to pity the mocking author who was debarred by his own language from possessing the whole of his own comedy. It is, in fact, by contrast with his English that an Englishman does possess it. Your official, your professional Parisian has a vocabulary of enormous, unrivalled mediocrity. When the novelist perceives this he does not perceive it all, because some of the words are the only words in use. Take an author at his serious moments, when he is not at all occupied with the comedy of phrases, and he now and then touches a word that has its burlesque by mere contrast with English.

"L'Histoire d'un Crime," of Victor Hugo, has so many of these touches as to be, by a kind of reflex action, a very school of English. The whole incident of the omnibus in that grave work has unconscious international comedy. The Deputies seated in the interior of the omnibus had been, it will be remembered, shut out of their Chamber by the perpetrator of the Coup d'Etat, but each had his official scarf. Scarf--pish!--"l'echarpe!"

"Ceindre l'echarpe"--there is no real English equivalent. Civic responsibility never was otherwise adequately expressed. An indignant deputy pa.s.sed his scarf through the window of the omnibus, as an appeal to the public, "et l'agita." It is a pity that the French reader, having no simpler word, is not in a position to understand the slight burlesque.

Nay, the mere word "public," spoken with this peculiar French good faith, has for us I know not what untransferable gravity.

There is, in short, a general international counterchange. It is altogether in accordance with our actual state of civilization, with its extremely "specialized" manner of industry, that one people should make a phrase, and another should have and enjoy it. And, in fact, there are certain French authors to whom should be secured the use of the literary German whereof Germans, and German women in particular, ought with all severity to be deprived. For Germans often tell you of words in their own tongue that are untranslatable; and accordingly they should not be translated, but given over in their own conditions, unaltered, into safer hands. There would be a clearing of the outlines of German ideas, a better order in the phrase; the possessors of an alien word, with the thought it secures, would find also their advantage.

So with French humour. It is expressly and signally for English ears. It is so even in the commonest farce. The unfortunate householder, for example, who is persuaded to keep walking in the conservatory "pour retablir la circulation," and the other who describes himself "sous-chef de bureau dans l'enregistrement," and he who proposes to "faire hommage"

of a doubtful turbot to the neighbouring "employe de l'octroi"--these and all their like speak commonplaces so usual as to lose in their own country the perfection of their dulness. We only, who have the alternative of plainer and fresher words, understand it. It is not the least of the advantages of our own dual English that we become sensible of the mockery of certain phrases that in France have lost half their ridicule, uncontrasted.

Take again the common rhetoric that has fixed itself in conversation in all Latin languages--rhetoric that has ceased to have allusions, either majestic or comic. To the ear somewhat unused to French this proffers a frequent comedy that the well-accustomed ear, even of an Englishman, no longer detects. A guard on a French railway, who advised two travellers to take a certain train for fear they should be obliged to "vegeter" for a whole hour in the waiting-room of such or such a station seemed to the less practised tourist to be a fresh kind of unexpected humourist.

One of the phrases always used in the business of charities and subscriptions in France has more than the intentional comedy of the farce- writer; one of the most absurd of his personages, wearying his visitors in the country with a perpetual game of bowls, says to them: "Nous jouons cinquante centimes--les benefices seront verses integralement a la souscription qui est ouverte a la commune pour la construction de notre maison d'ecole."

"Fletrir," again. Nothing could be more rhetorical than this perfectly common word of controversy. The comic dramatist is well aware of the spent violence of this phrase, with which every serious Frenchman will reply to opponents, especially in public matters. But not even the comic dramatist is aware of the last state of refuse commonplace that a word of this kind represents. Refuse rhetoric, by the way, rather than Emerson's "fossil poetry," would seem to be the right name for human language as some of the processes of the several recent centuries have left it.

The French comedy, then, is fairly stuffed with thin-S for an Englishman.

They are not all, it is true, so finely comic as "Il s'est trompe de defunte." In the report of that dull, incomparable sentence there is enough humour, and subtle enough, for both the maker and the reader; for the author who perceives the comedy as well as custom will permit, and for the reader who takes it with the freshness of a stranger. But if not so keen as this, the current word of French comedy is of the same quality of language. When of the fourteen couples to be married by the mayor, for instance, the deaf clerk has shuffled two, a looker-on p.r.o.nounces: "Il s'est empetre dans les futurs." But for a reader who has a full sense of the several languages that exist in English at the service of the several ways of human life, there is, from the mere terminology of official France, high or low--daily France--a gratuitous and uncovenanted smile to be had. With this the wit of the report of French literature has not little to do. Nor is it in itself, perhaps, reasonably comic, but the slightest irony of circ.u.mstance makes it so. A very little of the mockery of conditions brings out all the latent absurdity of the "sixieme et septieme arron-diss.e.m.e.nts," in the twinkling of an eye. So is it with the mere "domicile;" with the aid of but a little of the burlesque of life, the suit at law to "reintegrer le domicile conjugal"

becomes as grotesque as a phrase can make it. Even "a domicile"

merely--the word of every shopman--is, in the unconscious mouths of the speakers, always awaiting the lightest touch of farce, if only an Englishman hears it; so is the advice of the police that you shall "circuler" in the street; so is the request, posted up, that you shall not, in the churches.

So are the serious and ordinary phrases, "maison nuptiale," "maison mortuaire," and the still more serious "repos dominical," "oraison dominicale." There is no majesty in such words. The unsuspicious gravity with which they are spoken broadcast is not to be wondered at, the language offering no relief of contrast; and what is much to the credit of the comic sensibility of literature is the fact that, through this general unconsciousness, the ridicule of a thousand authors of comedy perceives the fun, and singles out the familiar thing, and compels that most elaborate dulness to amuse us. _Us_, above all, by virtue of the custom of counterchange here set forth.

Who shall say whether, by operation of the same exchange, the English poets that so persist in France may not reveal something within the English language--one would be somewhat loth to think so--reserved to the French reader peculiarly? Byron to the mult.i.tude, Edgar Poe to the select? Then would some of the mysteries of French reading of English be explained otherwise than by the plainer explanation that has. .h.i.therto satisfied our haughty curiosity. The taste for rhetoric seemed to account for Byron, and the desire of the rhetorician to claim a taste for poetry seemed to account for Poe. But, after all, _patatras_! Who can say?

HARLEQUIN MERCUTIO

The first time that Mercutio fell upon the English stage, there fell with him a gay and hardly human figure; it fell, perhaps finally, for English drama. That manner of man--Arlecchino, or Harlequin--had outlived his playmates, Pantaleone, Brigh.e.l.la, Colombina, and the Clown. A little of Pantaleone survives in old Capulet, a little in the father of the Shrew, but the life of Mercutio in the one play, and of the subordinate Tranio in the other, is less quickly spent, less easily put out, than the smouldering of the old man. Arlecchino frolics in and out of the tragedy and comedy of Shakespeare, until he thus dies in his lightest, his brightest, his most vital shape.

Arlecchino, the tricksy and shifty spirit, the contriver, the busybody, the trusty rogue, the wonder-worker, the man in disguise, the mercurial one, lives on buoyantly in France to the age of Moliere. He is officious and efficacious in the skin of Mascarille and Ergaste and Scapin; but he tends to be a lacquey, with a reference rather to Antiquity and the Latin comedy than to the Middle Ages, as on the English stage his mere memory survives differently to a later age in the person of "Charles, his friend." What convinces me that he virtually died with Mercutio is chiefly this--that this comrade of Romeo's lives so keenly as to be fully capable of the death that he takes at Tybalt's sword-point; he lived indeed, he dies indeed. Another thing that marks the close of a career of ages is his loss of his long customary good luck. Who ever heard of Arlecchino unfortunate before, at fault with his sword-play, overtaken by tragedy? His time had surely come. The gay companion was to bleed; Tybalt's sword had made a way. 'Twas not so deep as a well nor so wide as a church-door, but it served.

Some confusion comes to pa.s.s among the typical figures of the primitive Italian play, because Harlequin, on that conventional little stage of the past, has a hero's place, whereas when he interferes in human affairs he is only the auxiliary. He might be lover and bridegroom on the primitive stage, in the comedy of these few and unaltered types; but when Pantaloon, Clown, and Harlequin play with really human beings, then Harlequin can be no more than a friend of the hero, the friend of the bridegroom. The five figures of the old stage dance attendance; they play around the business of those who have the dignity of mortality; they, poor immortals--a clown who does not die, a pantaloon never far from death, who yet does not die, a Columbine who never attains Desdemona's death of innocence or Juliet's death of rect.i.tude and pa.s.sion--flit in the backward places of the stage.

Ariel fulfils his office, and is not of one kind with those he serves. Is there a memory of Harlequin in that delicate figure? Something of the subservient immortality, of the light indignity, proper to Pantaleone, Brigh.e.l.la, Arlecchino, Colombina, and the Clown, hovers away from the stage when Ariel is released from the trouble of human things.

Immortality, did I say? It was immortality until Mercutio fell. And if some claim be made to it still because Harlequin has transformed so many scenes for the pleasure of so many thousand children, since Mercutio died, I must reply that our modern Harlequin is no more than a _marionnette_; he has returned whence he came. A man may play him, but he is--as he was first of all--a doll. From doll-hood Arlecchino took life, and, so promoted, flitted through a thousand comedies, only to be again what he first was; save that, as once a doll played the man, so now a man plays the doll. It is but a memory of Arlecchino that our children see, a poor statue or image endowed with mobility rather than with life.

With Mercutio, vanished the light heart that had given to the serious ages of the world an hour's refuge from the unforgotten burden of responsible conscience; the light heart a.s.sumed, borrowed, made dramatically the spectator's own. We are not serious now, and no heart now is quite light, even for an hour.