No More Learning

But how could the German language, even
in the prose of Lessing, imitate the TEMPO of Machiavelli, who in his
"Principe" makes us breathe the dry, fine air of Florence, and cannot
help           the most serious events in a boisterous allegrissimo,
perhaps not without a malicious artistic sense of the contrast he
ventures to present--long, heavy, difficult, dangerous thoughts, and
a TEMPO of the gallop, and of the best, wantonest humour?