Now obviously any one but a professional interpreter of literature would know that there's _nothing_ to say about this harmless fool. Shakespeare threw him in as "a comic relief" and probably felt his strongest appeal to the native genius of the actor who impersonated him. But I can recall now, with that sense of humiliation which wrings one's withers, the sweetly murmured tones of some tactful woman who answered--and the last thing one wants is an answer to these inanities-- "Oh, we must say that Launcelot Gobbo is charming!" But Gobbo or no Gobbo, the fact remains that humour is one of the most delicate, the most evasive, and the most unstable of human qualities. I am myself inclined to hold that sheer outrageous ribaldry, especially if graced with an undertone of philosophic irony, is the only kind of humour which is really permanent. To give permanence to any human quality in literature, there must be an appeal to something which is beyond the power of time and change and fashion and custom and circumstance. And, as a matter of fact, nothing in the world except sex itself answers this requirement. The absurdities of men are infinite, but they alter with every generation. What never alters or can alter, is the absurdity of being a man at all. Where Shakespeare's humour still touches us most nearly is precisely in those scenes which the superficial custom of our age finds least endurable. It is not in his Gobbos or in his frolicsome boy-girls, that his essential spirit must be looked for; but in his Falstaffs and Mercutios. But Shakespeare's humour is largely, after all, a lovely, dreamy, poetical thing. I doubt if it has the weight or the massive solidity of the humour of Rabelais. I think the humour of Charles Lamb wears well; but that is probably because it has a most indisputable flavour of Rabelaisian roguery underlying its whimsical grace. Anatole France has the true classic spirit. His humour will remain fresh forever, because it is the humour of the eternal absurdity of sexual desire. Heine can never lose the sharpness of his bite, for his irreverence is the eternal irreverence of the soul that neither man nor God can scourge into solemn submission. Humour to be really permanent and to outlast the changes of fashion must go plummet-like to the basic root of things. It is nothing less than extraordinary that Voltaire, living in the age of all ages the most obsessed with the modishness of the hour, should have written "Candide," a book full of the old unalterable laughter. For "Candide" is not only a clever book, a witty book, a wise book. It is a book preposterously and outrageously funny. It tickles one's liver and one's gall; it relaxes one's nerves; it vents the suppressed spleen of years in a shout of irrepressible amusement. Certain passages in it--and, as one would have suspected they are precisely the passages that cannot be quoted in a modern book--compel one to laugh aloud as one thinks of them.