Nor is it merely as to a pure untarnished nature that we go back admiringly to childhood. The æsthetic charm of the infant which draws us so potently to its side and compels us to watch its words and actions is, like everything else which moves the modern mind, highly complex. Among other sources of this charm we may discern the perfect serenity, the happy ‘insouciance’ of the childish mind. The note of world-complaint in modern life has penetrated into most domains, yet it has not, one would hope, penetrated into the charmed circle of childish experience. Childhood has, no doubt, its sad aspect:— Poor stumbler on the rocky coast of woe, Tutored by pain each source of pain to know: neglect and cruelty may bring much misery into the first bright years. Yet the very instinct of childhood to be glad in its self-created world, an instinct which with consummate art Victor Hugo keeps warm and quick in the breast of the half-starved ill-used child Cosette, secures for it a peculiar blessedness. The true nature-child, who has not become _blasé_, is happy, untroubled with the future, knowing nothing of the misery of disillusion. As, with hearts chastened by many experiences, we take a peep over the wall of his fancy-built pleasance, we seem to be taken back to a real golden age. With Amiel, we say: “Le peu de paradis que nous aperçevons encore sur la terre est du à sa présence”. Yet the thought, which the same moment brings, of the flitting of the nursery visions, of the coming storm and stress, adds a pathos to the spectacle, and we feel as Heine felt when he wrote:— Ich schau’ dich an, und Wehmuth Schleicht mir ins Herz hinein. Other and strangely unlike feelings mingle with this caressing, half-pitiful admiration. We moderns are given to relieving the strained attitude of reverence and pity by momentary outbursts of humorous merriment. The child, while appealing to our admiration and our pity, makes a large and many-voiced appeal also to our sense of the laughter in things. It is indeed hard to say whether he is most amusing when setting at naught in his quiet, lordly way, our most extolled views, our ideas of what is true and false, of the proper uses of things, and so forth, or when labouring in his perfectly self-conceived fashion to overtake us and be as experienced and as conventional as ourselves. This ever new play of droll feature in childish thought and action forms one of the deepest sources of delight for the modern lover of childhood.