288.
The Comedy of the Noble Souls.—Those who cannot succeed in exhibiting a noble and cordial familiarity endeavour to let the nobleness of their nature be seen by their exercise of reserve and strictness, and a certain contempt for familiarity, as if their strong sense of confidence were ashamed to show itself.
289.
Where we may say Nothing against Virtue.—Among cowards it is thought bad form to say anything against bravery, for any expression of this kind would give rise to some contempt; and unfeeling people are irritated when anything is said against pity.[9]
290.
A Waste.—We find that with irritable and abrupt people their first words and actions generally afford no indication of their actual character—they are prompted by circumstances, and are to some [pg 260] extent simply reproductions of the spirit of these circumstances. Because, however, as the words have been uttered and the deeds done, the subsequent words and deeds, indicating the real nature of such people, have often to be used to reconcile, amend, or extinguish the former.
291.
Arrogance.—Arrogance is an artificial and simulated pride; but it is precisely the essential nature of pride to be incapable of artifice, simulation, or hypocrisy—and thus arrogance is the hypocrisy of the incapacity for hypocrisy, a very difficult thing, and one which is a failure in most cases. But if we suppose that, as most frequently happens, the presumptuous person betrays himself, then a treble annoyance falls to his lot: people are angry with him because he has endeavoured to deceive them, and because he wished to show himself superior to them, and finally they laugh at him because he failed in both these endeavours. How earnestly, therefore, should we dissuade our fellow-men from arrogance!
292.
A Species of Misconception.—When we hear somebody speak it is often sufficient for his pronunciation of a single consonant (the letter r, for example) to fill us with doubts as to the honesty of his feelings: we are not accustomed to this particular pronunciation, and should have to make it ourselves as it were arbitrarily—it sounds “forced” [pg 261] to us. This is the domain of the greatest possible misconception: and it is the same with the style of a writer who has certain habits which are not the habits of everybody. His “artlessness” is felt as such only by himself, and precisely in regard to that which he himself feels to be “forced” (because he has yielded in this matter to the prevailing fashion and to so called “good taste”), he may perhaps give pleasure and inspire confidence.