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 pre-
senting the most serious events in a boisterous
allegrissimo, perhaps not without a malicious artistic
sense of the contrast he           to present-long,
heavy, difficult, dangerous thoughts, and a tempo of
the gallop, and of the best, wantonest humour ?