to laugh when they have no other reason than the peril of
being taken for dullards; still more to inspire them with the courage to
say that they object to the theatrical spoiling for themselves and their
children of all affecting themes, all the grander deeds and aims of men,
by burlesque associations adapted to the taste of rich fishmongers in
the stalls and their assistants in the gallery. The English people in
the present generation are falsely reputed to know Shakspere (as, by
some innocent persons, the Florentine mule-drivers are believed to have
known the _Divina Commedia_, not, perhaps, excluding all the subtle
discourses in the _Purgatorio_ and _Paradiso_); but there seems a clear
prospect that in the coming generation he will be known to them through
burlesques, and that his plays will find a new life as pantomimes. A
bottle-nosed Lear will come on with a monstrous corpulence from which he
will frantically dance himself free during the midnight storm; Rosalind
and Celia will join in a grotesque ballet with shepherds and
shepherdesses; Ophelia in fleshings and a voluminous brevity of
grenadine will dance through the mad scene, finishing with the famous
"attitude of the scissors" in the arms of Laertes; and all the speeches
in "Hamlet" will be so ingeniously parodied that the originals will be
reduced to a mere _memoria technica_ of the improver's puns--premonitory
signs of a hideous millennium, in which the lion will have to lie down
with the lascivious monkeys whom (if we may trust Pliny) his soul
naturally abhors.

I have been amazed to find that some artists whose own works have the
ideal stamp, are quite insensible to the damaging tendency of the
burlesquing spirit which ranges to and fro and up and down on the earth,
seeing no reason (except a precarious censorship) why it should not
appropriate every sacred, heroic, and pathetic theme which serves to
make up the treasure of human admiration, hope, and love. One would have
thought that their own half-despairing efforts to invest in worthy
outward shape the vague inward impressions of sublimity, and the
consciousness of an implicit ideal in the commonest scenes, might have
made them susceptible of some disgust or alarm at a species of burlesque
which is likely to render their compositions no better than a dissolving
view, where every noble form is seen melting into its preposterous
caricature. It used to be imagined of the unhappy medieval Jews that
they par