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DONNA: Credete voi, che’l Turco passi questo anno in Italia?

F. TIM.: Se voi non fate orazione, si.

Priestly arrogance and unctuousness, and trickeries and casuistries, cannot be painted without our discovering a likeness in the long Italian gallery. Goldoni sketched the Venetian manners of the decadence of the Republic with a French pencil, and was an Italian Scribe in style.

The Spanish stage is richer in such Comedies as that which furnished the idea of the Menteur to Corneille. But you must force yourself to believe that this liar is not forcing his vein when he piles lie upon lie. There is no preceding touch to win the mind to credulity. Spanish Comedy is generally in sharp outline, as of skeletons; in quick movement, as of marionnettes. The Comedy might be performed by a troop of the corps de ballet; and in the recollection of the reading it resolves to an animated shuffle of feet. It is, in fact, something other than the true idea of Comedy. Where the sexes are separated, men and women grow, as the Portuguese call it, affaimados of one another, famine-stricken; and all the tragic elements are on the stage. Don Juan is a comic character that sends souls flying: nor does the humour of the breaking of a dozen women’s hearts conciliate the Comic Muse with the drawing of blood.

German attempts at Comedy remind one vividly of Heine’s image of his country in the dancing of Atta Troll. Lessing tried his hand at it, with a sobering effect upon readers. The intention to produce the reverse effect is just visible, and therein, like the portly graces of the poor old Pyrenean Bear poising and twirling on his right hind-leg and his left, consists the fun. Jean Paul Richter gives the best edition of the German Comic in the contrast of Siebenkas with his Lenette. A light of the Comic is in Goethe; enough to complete the splendid figure of the man, but no more.

The German literary laugh, like the timed awakenings of their Barbarossa in the hollows of the Untersberg, is infrequent, and rather monstrous–never a laugh of men and women in concert. It comes of unrefined abstract fancy, grotesque or grim, or gross, like the peculiar humours of their little earthmen. Spiritual laughter they have not yet attained to: sentimentalism waylays them in the flight. Here and there a Volkslied or Marchen shows a national aptitude for stout animal laughter; and we see that the literature is built on it, which is hopeful so far; but to enjoy it, to enter into the philosophy of the Broad Grin, that seems to hesitate between the skull and the embryo, and reaches its perfection in breadth from the pulling of two square fingers at the corners of the mouth, one must have aid of ‘the good Rhine wine,’ and be of German blood unmixed besides. This treble-Dutch lumbersomeness of the Comic spirit is of itself exclusive of the idea of Comedy, and the poor voice allowed to women in German domestic life will account for the absence of comic dialogues reflecting upon life in that land. I shall speak of it again in the second section of this lecture.

Eastward you have total silence of Comedy among a people intensely susceptible to laughter, as the Arabian Nights will testify. Where the veil is over women’s-faces, you cannot have society, without which the senses are barbarous and the Comic spirit is driven to the gutters of grossness to slake its thirst. Arabs in this respect are worse than Italians–much worse than Germans; just in the degree that their system of treating women is worse.

M. Saint-Marc Girardin, the excellent French essayist and master of critical style, tells of a conversation he had once with an Arab gentleman on the topic of the different management of these difficult creatures in Orient and in Occident: and the Arab spoke in praise of many good results of the greater freedom enjoyed by Western ladies, and the charm of conversing with them. He was questioned why his countrymen took no measures to grant them something of that kind of liberty. He jumped out of his individuality in a twinkling, and entered into the sentiments of his race, replying, from the pinnacle of a splendid conceit, with affected humility of manner: ‘You can look on them without perturbation–but we!’ . . . And after this profoundly comic interjection, he added, in deep tones, ‘The very face of a woman!’ Our representative of temperate notions demurely consented that the Arab’s pride of inflammability should insist on the prudery of the veil as the civilizing medium of his race.