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 and importance as soon as it was transplanted to a soil more propitious than paganism and the Epic. In truth, in the new poetry, while the sublime represents the soul as it is, purified by Christian morality, the grotesque plays the part of the human beast. The former type, delivered of all impure alloy, has as its attributes all the charms, all the graces, all the beauties; it must be able some day to create Juliet, Desdemona, Ophelia. The latter assumes all the absurdities, all the infirmities, all the blemishes. In this partition of mankind and of creation, to it fall the passions, vices, crimes; it is sensuous, fawning, greedy, miserly, false, incoherent, hypocritical; it is, in turn, Iago, Tartuffe, Basile, Polonius, Harpagon, Bartholo, Falstaff, Scapin, Figaro. The beautiful has but one type, the ugly has a thousand. The fact is that the beautiful, humanly speaking, is merely form considered in its simplest aspect, in its most perfect symmetry, in its most entire harmony with our make-up. Thus the ensemble that it offers us is always complete, but restricted like ourselves. What we call the ugly, on the contrary, is a detail of a great whole which eludes us, and which is in harmony, not with man but with all creation. That is why it constantly presents itself to us in new but incomplete aspects.

It is interesting to study the first appearance and the progress of the grotesque in modern times. At first, it is an invasion, an irruption, an overflow, as of a torrent that has burst its banks. It rushes through the expiring Latin literature, imparts some coloring to Persius, Petronius and Juvenal, and leaves behind it the Golden Ass of Apuleius. Thence it diffuses itself through the imaginations of the new nations that are remodelling Europe. It abounds in the work of the fabulists, the chroniclers, the romancists. We see it make its way from the South to the North. It disports itself in the dreams of the Teutonic nations, and at the same time vivifies with its breath the admirable Spanish romanceros, a veritable Iliad of the age of chivalry. For example, it is the grotesque which describes thus, in the Roman de la Rose, an august ceremonial, the election of a king:—