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sake with the conception of God which his teaching presents, the love of man for God's sake involves, as his writings abundantly show, a strong principle of hatred. We can only love one being for the sake of another when there is an habitual delight in associating the idea of those two beings—that is, when the object of our indirect love is a source of joy and honor to the object of our direct love; but according to Dr. Cumming's theory, the majority of mankind-the majority of his neighbors-are in precisely the opposite relation to God. His soul has no pleasure in them, they belong more to Satan than to Him, and if they contribute to His glory, it is against their will. Dr. Cumming then can only love some men for God's sake; the rest he must in consistency hate for God's sake.

There must be many, even in the circle of Dr. Cumming's admirers, who would be revolted by the doctrine we have just exposed, if their natural good sense and healthy feeling were not early stifled by dogmatic beliefs, and their reverence misled by pious phrases. But as it is, many a rational question, many a generous instinct, is repelled as the suggestion of a supernatural enemy, or as the ebullition of human pride and corruption. This state of inward contradiction can be put an end to only by the conviction that the free and diligent exertion of the intellect, instead of being a sin, is part of their responsibility— that Right and Reason are synonymous. The fundamental faith for man is, faith in the result of a brave, honest, and steady use of all his faculties:

"Let knowledge grow from more to more,

But more of reverence in us dwell;
That mind and soul according well
May make one music as before,

But vaster."

Before taking leave of Dr. Cumming, let us express a hope that we have in no case exaggerated the unfavorable character of the inferences to be drawn from his pages. His creed often obliges him to hope the worst of men, and exert himself in proving that the worst is true; but thus far we are happier

than he. We have no theory which requires us to attribute unworthy motives to Dr. Cumming, no opinions, religious or irreligious, which can make it a gratification to us to detect him in delinquencies. On the contrary, the better we are able to think of him as a man, while we are obliged to disapprove him as a theologian, the stronger will be the evidence for our conviction, that the tendency toward good in human nature has a force which no creed can utterly counteract, and which insures the ultimate triumph of that tendency over all dogmatic perversions.

IV.

GERMAN WIT: HENRY HEINE.*

"NOTHING," says Goethe," is more significant of men's character than what they find laughable." The truth of this observation would perhaps have been more apparent if he had said culture instead of character. The last thing in which the cultivated man can have community with the vulgar is their jocularity; and we can hardly exhibit more strikingly the wide gulf which separates him from them, than by comparing the object which shakes the diaphragm of a coal-heaver with the highly complex pleasure derived from a real witticism. That any high order of wit is exceedingly complex, and demands a ripe and strong mental development, has one evidence in the fact that we do not find it in boys at all in proportion to their manifestation of other powers. Clever boys generally aspire to the heroic and poetic rather than the comic, and the crudest of all their efforts are their jokes. Many a witty man will remember how in his school days a practical joke, more or less Rabelaisian, was for him the ne plus ultra of the ludicrous. It seems to have been the same with the boyhood of the human The history and literature of the ancient Hebrews gives the idea of a people who went about their business and their pleasure as gravely as a society of beavers; the smile and the laugh are often mentioned metaphorically, but the smile is one of complacency, the laugh is one of scorn. Nor can we imagine that the facetious element was very strong in the

race.

* 1. "Heinrich Heine's Sämmtliche Werke." Philadelphia: John Weik. 1855. 2. "Vermischte Schriften von Heinrich Heine." Hamburg: Hoffman und Campe. 1854.

Egyptians; no laughter lurks in the wondering eyes and the broad calm lips of their statues. Still less can the Assyrians have had any genius for the comic: the round eyes and simpering satisfaction of their ideal faces belong to a type which is not witty, but the cause of wit in others. The fun of these early races was, we fancy, of the after-dinner kind-loudthroated laughter over the wine-cup, taken too little account of in sober moments to enter as an element into their Art, and differing as much from the laughter of a Chamfort or a Sheridan as the gastronomic enjoyment of an ancient Briton, whose dinner had no other "removes" than from acorns to beechmast and back again to acorns, differed from the subtle pleasures of the palate experienced by his turtle-eating descendant. In fact they had to live seriously through the stages which to subsequent races were to become comedy, as those amiablelooking preadamite amphibia which Professor Owen has restored for us in effigy at Sydenham, took perfectly au sérieux the grotesque physiognomies of their kindred. Heavy experience in their case, as in every other, was the base from which the salt of future wit was to be made.

Humor is of earlier growth than Wit, and it is in accordance with this earlier growth that it has more affinity with the poetic tendencies, while Wit is more nearly allied to the ratiocinative intellect. Humor draws its materials from situations and characteristics; Wit seizes on unexpected and complex relations. Humor is chiefly representative and descriptive; it is diffuse, and flows along without any other law than its own fantastic will; or it flits about like a will-of-the-wisp, amazing us by its whimsical transitions. Wit is brief and sudden, and sharply defined as a crystal; it does not make pictures, it is not fantastic; but it detects an unsuspected analogy or suggests a startling or confounding inference. Every one who has had the opportunity of making the comparison will remember that the effect produced on him by some witticisms is closely akin to the effect produced on him by subtle reasoning which lays open a fallacy or absurdity, and there are persons whose delight in

such reasoning always manifests itself in laughter. This affinity of wit with ratiocination is the more obvious in proportion as the species of wit is higher and deals less with less words and with superficialities than with the essential qualities of things. Some of Johnson's most admirable witticisms consist in the suggestion of an analogy which immediately exposes the absurdity of an action or proposition; and it is only their ingenuity, condensation, and instantaneousness which lift them from reasoning into Wit--they are reasoning raised to a higher power. On the other hand, Humor, in its higher forms, and in proportion as it associates itself with the sympathetic emotions, continually passes into poetry: nearly all great modern humorists may be called prose poets.

Some confusion as to the nature of Humor has been created by the fact that those who have written most eloquently on it have dwelt almost exclusively on its higher forms, and have defined humor in general as the sympathetic presentation of incongruous elements in human nature and life-a definition which only applies to its later development. A great deal of humor may coexist with a great deal of barbarism, as we see in the Middle Ages; but the strongest flavor of the humor in such cases will come, not from sympathy, but more probably from triumphant egoism or intolerance; at best it will be the love of the ludicrous exhibiting itself in illustrations of successful cunning and of the lex talionis as in Reineke Fuchs, or shaking off in a holiday mood the yoke of a too exacting faith, as in the old Mysteries. Again, it is impossible to deny a high degree of humor to many practical jokes, but no sympathetic nature can enjoy them. Strange as the genealogy may seem, the original parentage of that wonderful and delicious mixture of fun, fancy, philosophy, and feeling, which constitutes modern humor, was probably the cruel mockery of a savage at the writhings of a suffering enemy-such is the tendency of things toward the good and beautiful on this earth! Probably the reason why high culture demands more complete harmony with its moral sympathies in humor than in wit, is

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