JOY AND LAUGHTER

steps, and suggests something darkiy subtle, almost fiendish. It is Jehovic, derisive (" He that ^tteth in the heavens shall laugh, the Lord shall hâve them in dérision"), défiant, buUying, superior, contemptuous. It is the dance of the cannibal just prior to eating his man. Nietzsche's laughter is an index of a triumph which cornes by crushing down opposition, not by transœnding it; it accompanies the realization of power to stand isolated and alone, rather than the consciousness of being united with ail. It is fuU of pride and scorn ; we f eel that it might pass into corses without any emotional change ; it is f orced, in the sensé of bdng elidted rather by antipathy tiian sympathy; he wanted a god who could dance, but we feel that he would like to be whipping him to make him dance. For ail his laughter, Nietzsche was no " happy warrior."

Carpenter's laughter, on the other hand, is no less exubérant and boisterous ; he, too, can make the welkin ring; at times there is something even terrible about it, something wild, weird, unworldly ; but it is always charged with kindness and understanding ; it is Olympian rather than Mephistophelian ; he is often f ound laughing with himsdf , one overhears him at it ; not seldom he laughs at himself, as one who is surprised at finding himself at home in a world which he had imagined alien, or at discovering lovers where stupidly he had suspected enemies. It is the index of his amazement at the goodness of the