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