both cases it is a picture of human simplicity--of a noble and artless
nature out of harmony with its surroundings--which moves us;
but whereas in the Spanish romance the simplicity is that of the
_incompris_, in the English novel it is that of the man with whom
the _incompris_ consorts. If there is pathos as well as humour, and
deepening the humour, in the figure of the distraught knight-errant
talking so hopelessly over the head of his attached squire's morality,
so too there is pathos, giving depth to the humour of the eccentric
philosopher, shooting so hopelessly wide of the intellectual
appreciation of the most affectionate of brothers. One's sympathy,
perhaps, is even more strongly appealed to in the latter than in the
former case, because the effort of the good Captain to understand is
far greater than that of the Don to make himself understood, and the
concern of the former at his failure is proportionately more marked
than that of the latter at _his_. And the general _rapport_ between
one of the two ill-assorted pairs is much closer than that of
the other. It is, indeed, the tantalizing approach to a mutual
understanding which gives so much more subtle a zest to the humour
of the relations between the two brothers Shandy than to that which
arises out of the relations between the philosopher and his wife.
The broad comedy of the dialogues between Mr. and Mrs. Shandy is
irresistible in its way: but it _is_ broad comedy. The philosopher
knows that his wife does not comprehend him: she knows that she never
will; and neither of them much cares. The husband snubs her openly
for her mental defects, and she with perfect placidity accepts his
rebukes. "Master," as he once complains, "of one of the finest chains
of reasoning in the world, he is unable for the soul of him to get a
single link of it into the head of his wife;" but we never hear him
lamenting in this serio-comic fashion over his brother's inability to
follow his processes of reasoning. That is too serious a matter with