Perhaps, therefore, the crocodile does _not_ change, but all things else _do_: even the shadow of the pyramids grows less. And often the restoration in vision of Fanny and the Bath road, makes me too pathetically sensible of that truth. Out of the darkness, if I happen to call up the image of Fanny from thirty-five years back, arises suddenly a rose in June; or, if I think for an instant of the rose in June, up rises the heavenly face of Fanny. One after the other, like the antiphonies in the choral service, rises Fanny and the rose in June, then back again the rose in June and Fanny. Then come both together, as in a chorus; roses and Fannies, Fannies and roses, without end--thick as blossoms in paradise. Then comes a venerable crocodile, in a royal livery of scarlet and gold, or in a coat with sixteen capes; and the crocodile is driving four-in-hand from the box of the Bath mail. And suddenly we upon the mail are pulled up by a mighty dial, sculptured with the hours, and with the dreadful legend of TOO LATE. Then all at once we are arrived at Marlborough forest, amongst the lovely households[7] of the roe-deer: these retire into the dewy thickets; the thickets are rich with roses; the roses call up (as ever) the sweet countenance of Fanny, who, being the granddaughter of a crocodile, awakens a dreadful host of wild semi-legendary animals,--griffins, dragons, basilisks, sphinxes,--till at length the whole vision of fighting images crowds into one towering armorial shield, a vast emblazonry of human charities and human loveliness that have perished, but quartered heraldically with unutterable horrors of monstrous and demoniac natures, whilst over all rises, as a surmounting crest, one fair female hand, with the fore-finger pointing, in sweet, sorrowful admonition, upwards to heaven, and having power (which, without experience, I never could have believed) to awaken the pathos that kills in the very bosom of the horrors that madden the grief that gnaws at the heart, together with the monstrous creations of darkness that shock the belief, and make dizzy the reason of man. This is the peculiarity that I wish the reader to notice, as having first been made known to me for a possibility by this early vision of Fanny on the Bath road. The peculiarity consisted in the confluence of two different keys, though apparently repelling each other, into the music and governing principles of the same dream; horror, such as possesses the maniac, and yet, by momentary transitions, grief, such as may be supposed to possess the dying mother when leaving her infant children to the mercies of the cruel. Usually, and perhaps always, in an unshaken nervous system, these two modes of misery exclude each other--here first they met in horrid reconciliation. There was also a separate peculiarity in the quality of the horror. This was afterwards developed into far more revolting complexities of misery and incomprehensible darkness; and perhaps I am wrong in