cleverest illustration of the reciprocal convertibility of the two states of which these acts are the manifestations; But you may see it every day in children; and if you want to choke with stifled tears at sight of the transition, as it shows itself in older years, go and see Mr. Blake play Jesse Rural.
It is a very dangerous thing for a literary man to indulge his love for the ridiculous. People laugh with him just so long as he amuses them; but if he attempts to be serious, they must still have their laugh, and so they laugh at him. There is in addition, however, a deeper reason for this than would at first appear. Do you know that you feel a little superior to every man who makes you laugh, whether by making faces or verses? Are you aware that you have a pleasant sense of patronizing him, when you condescend so far as to let him turn somersets, literal or literary, for your royal delight? Now if a man can only be allowed to stand on a daïs, or raised platform, and look down on his neighbor who is exerting his talent for him, oh, it is all right!—first-rate performance!—and all the rest of the fine phrases. But if all at once the performer asks the gentleman to come upon the floor, and, stepping upon the platform, begins to talk down at him,—ah, that wasn't in the programme!
I have never forgotten what happened when Sydney Smith—who, as everybody knows, was an exceedingly sensible man, and a gentleman, every inch
