Again, in Jean Paul’s “Titan,” when Schoppe, melancholy and now brooding over himself, frequently looking at his hands, says to himself, “There sits a lord in bodily reality, and I in him; but who is such?” Heinrich Heine appears as a true humourist in his “_Romancero_.” Behind all his jokes and drollery we discern a profound seriousness, which is ashamed to appear unveiled. Accordingly humour depends upon a special kind of mood or temper (German, _Laune_, probably from _Luna_) through which conception in all its modifications, a decided predominance of the subjective over the objective in the apprehension of the external world, is thought. Moreover, every poetical or artistic presentation of a comical, or indeed even a farcical scene, through which a serious thought yet glimmers as its concealed background, is a production of humour, thus is humorous. Such, for example, is a coloured drawing of Tischbein’s, which represents an empty room, lighted only by the blazing fire in the grate. Before the fire stands a man with his coat off, in such a position that his shadow, going out from his feet, stretches across the whole room. Tischbein comments thus on the drawing: “This is a man who has succeeded in nothing in the world, and who has made nothing of it; now he rejoices that he can throw such a large shadow.” Now, if I had to express the seriousness that lies concealed behind this jest, I could best do so by means of the following verse taken from the Persian poem of Anwari Soheili:— “If thou hast lost possession of a world, Be not distressed, for it is nought; Or hast thou gained possession of a world, Be not o’erjoyed, for it is nought. Our pains, our gains, all pass away; Get thee beyond the world, for it is nought.”