The point in which Béranger most resembles Horace is that which is the most essential in the characters of them both—their geniality. This is the very essence of the poems of society; it springs in the verses of amusement, it harmonises with acquiescing sympathy the poems of indifference. And yet few qualities in writing are so rare. A certain malevolence enters into literary ink; the point of the pen pricks. Pope is the very best example of this. With every desire to imitate Horace, he cannot touch any of his subjects, or any kindred subjects, without infusing a bitter ingredient. It is not given to the children of men to be philosophers without envy. Lookers-on can hardly bear the spectacle of the great world. If you watch the carriages rolling down to the House of Lords, you will try to depreciate the House of Lords. Idleness is cynical. Both Béranger and Horace are exceptions to this. Both enjoy the roll of the wheels; both love the glitter of the carriages; neither is angry at the sun. Each knows that he is as happy as he can be—that he is all that he can be in his contemplative philosophy. In his means of expression for the purpose in hand, the Frenchman has the advantage. The Latin language is clumsy. Light pleasure was an exotic in the Roman world; the terms in which you strive to describe it suit rather the shrill camp and droning law-court. In English, as we hinted just now, we have this too. Business is in our words; a too heavy sense clogs our literature; even in a writer so apt as Pope at the _finesse_ of words, you feel that the solid Gothic roots impede him. It is difficult not to be cumbrous. The horse may be fleet and light, but the wheels are ponderous and the road goes heavily. Béranger certainly has not this difficulty; nobody ever denied that a Frenchman could be light, that the French language was adapted for levity. When we ascribed an absence of bitterness and malevolence to Béranger, we were far from meaning that he is not a satirist. Every light writer in a measure must be so. Mirth is the imagery of society; and mirth must make fun of somebody. The nineteenth century has not had many shrewder critics than its easy natured poet. Its intense dulness particularly strikes him. He dreads the dreariness of the Academy; pomposity bores him; formalism tires him; he thinks, and may well think, it dreary to have ‘Pour grands hommes des journalistes, Pour amusement l’Opéra.’ But skilful as is the mirth, its spirit is genial and good-natured. ‘You have been making fun of me, Sydney, for twenty years,’ said a friend to the late Canon of St. Paul’s, ‘and I do not think you have said a single thing I should have wished you not to say.’ So far as its essential features are concerned, the nineteenth century may say the same of its musical satirist. Perhaps, however, the Bourbons might a little object. Clever people have always a _little_ malice against the stupid.