being such a thing as a national ideal, seeming
utterly to have forgotten that even in the affairs of this world the
imagination is as much matter-of-fact as the understanding. If we were
to trust the impression made on us by some of the cleverest and most
characteristic of their periodical literature, we should think England
hopelessly stranded on the good-humored cynicism of well-to-do
middle-age, and should fancy it an enchanted nation, doomed to sit
forever with its feet under the mahogany in that after-dinner mood which
follows conscientious repletion, and which it is ill-manners to disturb
with any topics more exciting than the quality of the wines. But there
are already symptoms that a large class of Englishmen are getting weary
of the dominion of consols and divine common-sense, and to believe that
eternal three per cent. is not the chief end of man, nor the highest and
only kind of interest to which the powers and opportunities of England
are entitled.

The quality of exaggeration has often been remarked on as typical of
American character, and especially oL American humor. In Dr. Petri's
_Gedraengtes Handbuch der Fremdwoerter_, we are told that the word
_humbug_ is commonly used for the exaggerations of the North-Americans.
To be sure, one would be tempted to think the dream of Columbus half
fulfilled, and that Europe had found in the West a nearer way to
Orientalism, at least in diction. But it seems tome that a great deal of
what is set down as mere extravagance is more fitly to be called
intensity and picturesqueness, symptoms ol the imaginative faculty in
full health and strength, though producing, as yet, only the raw and
formless material in which poetry is to work. By and by, perhaps, the
world will see it fashioned into poem and picture, and Europe, which
will be hard pushed for originality erelong, may have to thank us for a
new sensation. The French continue to find Shakespeare exaggerated
because he treated English just as our country-folk do when they speak
of a 'steep price,' or say that they 'freeze to' a thing. The first
postulate of an original literature is that a people should use their
language instinctively and unconsciously, as if it were a lively part of
their growth and personality, not as the mere torpid boon of education
or inheritance. Even Burns contrived to write very poor verse and prose
in English. Vulgarisms are often only poetry in the egg. The late Mr.
Horace Mann, in one of h