The greatness of Mr. Crooks lies not in the fact that he expresses the claims of the populace, which twenty dons at Oxford would be ready to express; it is that he expresses the populace: its strong tragedy and its strong farce. He is not a demagogue. He is not even a democrat. He is a demos; he is the real King. And his chief characteristic, as I have suggested, is that he represents especially those popular good qualities which are unpopular in modern discussion. Will Crooks is to the ordinary London omnibus conductor or cabman exactly what Robert Burns was to the ordinary puritanical but passionate peasant of the Scotch Lowlands. He is the journeyman of genius. All that is good in them is better in him; but it is the same thing. Walt Whitman has perfectly expressed this attitude of the average towards the fine type. "They see themselves in him. They hardly know themselves, they are so grown." In numberless points Mr. Crooks thus completes and glorifies the common character of the poor man. Take, for instance, the deep matter of humour: humour in which the English poor are certainly pre-eminent among all classes of the nation and all nations of the world. By all politicians, including Labour politicians, humour is only introduced exceptionally and elaborately; by all politicians the comic anecdote is led up to with dextrous prefaces and deep intonations, as if it were something altogether unique and separate. All politicians take their own humour very seriously. Mr. Crooks recalls the real life of the streets in nothing so much as in the fact that humour is a constant condition. He and the poor exist in a normal atmosphere of amiable irony. If anything, they have to make an effort to become verbally serious: something of the same kind of earnest that it costs an ordinary member of Parliament to become witty. Anyone who has heard Mr. Crooks talk knows that his permanent mood is humorous. He is never without a story, but his face and his mind are humorous before he has even thought of the story. He lives, so to speak, in a state of expectant reminiscence. The man who said that "brevity was the soul of wit" told a lie; nobody minds how long wit goes on so long as it is wit. Mr. Crooks belongs to that strong old school of English humour in which Dickens was supreme; that school which some moderns have called dull because it could go on for a long time being interesting.