80. +The two passages are not indented in the original; they are in smaller typeface that makes for difficult reading. 86. +Transliteration: aei en sphodra orexei. Translation: "always greatly yearning." 104. +Transliteration: tryphes, habrotetos, khlides, khariton, himerou, pothou pater. Translation: "Of daintiness, delicacy, luxury, graces, father of desire." CHARLES LAMB [105] THOSE English critics who at the beginning of the present century introduced from Germany, together with some other subtleties of thought transplanted hither not without advantage, the distinction between the Fancy and the Imagination, made much also of the cognate distinction between Wit and Humour, between that unreal and transitory mirth, which is as the crackling of thorns under the pot, and the laughter which blends with tears and even with the sublimities of the imagination, and which, in its most exquisite motives, is one with pity--the laughter of the comedies of Shakespeare, hardly less expressive than his moods of seriousness or solemnity, of that deeply stirred soul of sympathy in him, as flowing from which both tears and laughter are alike genuine and contagious. This distinction between wit and humour, Coleridge and other kindred critics applied, with much effect, in their studies of some of our older English writers. And as the distinction between imagination and fancy, made popular by Wordsworth, [106] found its best justification in certain essential differences of stuff in Wordsworth's own writings, so this other critical distinction, between wit and humour, finds a sort of visible interpretation and instance in the character and writings of Charles Lamb;--one who lived more consistently than most writers among subtle literary theories, and whose remains are still full of curious interest for the student of literature as a fine art. The author of the English Humourists of the Eighteenth Century, coming to the humourists of the nineteenth, would have found, as is true preeminently of Thackeray himself, the springs of pity in them deepened by the deeper subjectivity, the intenser and closer living with itself, which is characteristic of the temper of the later generation; and therewith, the mirth also, from the amalgam of which with pity humour proceeds, has become, in Charles Dickens, for example, freer and more boisterous.