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 a little more stodgy and less sensitive than many of my countrymen; and certainly less sensitive than Dickens. But I know what it was that annoyed him about that unending and unchanging stream of American visitors; it was the unending and unchanging stream of American sociability and high spirits. A people living on such a lofty but level tableland do not understand the ups and downs of the English temperament; the temper of a nation of eccentrics or (as they used to be called) of humorists. There is something very national in the very name of the old play of . But the play more often acted in real life is 'Every Man Out of His Humour.' It is true, as Matthew Arnold said, that an Englishman wants to do as he likes; but it is not always true even that he likes what he likes. An Englishman can be friendly and yet not feel friendly. Or he can be friendly and yet not feel hospitable. Or he can feel hospitable and yet not welcome those whom he really loves. He can think, almost with tears of tenderness, about people at a distance who would be bores if they came in at the door.

American sociability sweeps away any such subtlety. It cannot be expected to understand the paradox or perversity of the Englishman, who thus can feel friendly and avoid friends. That is the truth in the suggestion that Dickens was sentimental. It means that he probably felt most sociable when he was solitary. In all these attempts to describe the indescribable, to indicate the real but unconscious differences between the two peoples, I have tried to balance my words without the irrelevant bias of praise and blame. Both characteristics always cut both ways. On one side this comradeship makes possible a certain communal