OfthisclassinEngland，alargebody，neitherPuritannorBacchanalian，haveasentimentalobjectiontofacethestudyoftheactualworld。Theytakeupdisdainofit，whenitstruthsappearhumiliating:whenthefactsarenotimmediatelyforcedonthem，theytakeuptheprideofincredulity。Theyliveinahazyatmospherethattheysupposeanidealone。Humorouswritingtheywillendure，perhapsapprove，ifitmingleswithpathostoshakeandelevatethefeelings。TheyapproveofSatire，because，likethebeakofthevulture，itsmellsofcarrion，whichtheyarenot。ButofComedytheyhaveashiveringdread，forComedyenfoldsthemwiththewretchedhostoftheworld，huddlesthemwithusallinanignobleassimilation，andcannotbeusedbyanyexaltedvarietyasascourgeandabroom。Nay，tobeanexaltedvarietyistocomeunderthecalmcuriouseyeoftheComicspirit，andbeprobedforwhatyouare。Menareseenamongthem，andverymanycultivatedwomen。Youmaydistinguishthembyafavouritephrase:'Surelywearenotsobad！'andtheremark:'Ifthatishumannature，saveusfromit！'
　　asifitcouldbedone:butinthepeculiarParadiseofthewilfulpeoplewhowillnotsee，theexclamationassumesthesavinggrace。
　　Yetshouldyouaskthemwhethertheydislikesoundsense，theyvowtheydonot。Andquestioncultivatedwomenwhetheritpleasesthemtobeshownmovingonanintellectuallevelwithmen，theywillanswerthatitdoes;numbersofthemclaimthesituation。Now，Comedyisthefountainofsoundsense;notthelessperfectlysoundonaccountofthesparkle:andComedyliftswomentoastationofferingthemfreeplayfortheirwit，astheyusuallyshowit，whentheyhaveit，onthesideofsoundsense。ThehighertheComedy，themoreprominenttheparttheyenjoyinit。DorineintheTartuffeiscommon—senseincarnate，thoughpalpablyawaiting—maid。
　　CelimeneisundisputedmistressofthesameattributeintheMisanthrope;wiserasawomanthanAlcesteasman。InCongreve'sWayoftheWorld，MillamantovershadowsMirabel，thesprightliestmalefigureofEnglishcomedy。
　　Butthosetworavishingwomen，socopiousandsochoiceofspeech，whofencewithmenandpasstheirguard，areheartless！Isitnotpreferabletobetheprettyidiot，thepassivebeauty，theadorablebundleofcaprices，veryfeminine，verysympathetic，ofromanticandsentimentalfiction？Ourwomenaretaughttothinkso。TheAgnesoftheEcoledesFemmesshouldbealessonformen。TheheroinesofComedyarelikewomenoftheworld，notnecessarilyheartlessfrombeingclear—sighted:theyseemsotothesentimentally—rearedonlyforthereasonthattheyusetheirwits，andarenotwanderingvesselscryingforacaptainorapilot。Comedyisanexhibitionoftheirbattlewithmen，andthatofmenwiththem:andasthetwo，howeverdivergent，bothlookononeobject，namely，Life，thegradualsimilarityoftheirimpressionsmustbringthemtosomeresemblance。TheComicpoetdarestoshowusmenandwomencomingtothismutuallikeness;heisforsayingthatwhentheydrawtogetherinsociallifetheirmindsgrowliker;justasthephilosopherdiscernsthesimilarityofboyandgirl，untilthegirlismarchedawaytothenursery。PhilosopherandComicpoetareofacousinshipintheeyetheycastonlife:andtheyareequallyunpopularwithourwilfulEnglishofthehazyregionandtheidealthatisnottobedisturbed。
　　Thus，forwantofinstructionintheComicidea，welosealargeaudienceamongourcultivatedmiddleclassthatweshouldexpecttosupportComedy。ThesentimentalistisasaverseasthePuritanandastheBacchanalian。
　　Ourtraditionsareunfortunate。Thepublictasteiswiththeidlelaughers，andstillinclinestofollowthem。ItmaybeshownbyananalysisofWycherley'sPlainDealer，acoarseproseadaptionoftheMisanthrope，stuffedwithlumpsofrealisminavulgarizedthemetohitthemarkofEnglishappetite，thatwehaveinitthekeynoteoftheComedyofourstage。ItisMolieretravestied，withthehooftohisfootandhaironthepointedtipofhisear。AndhowdifficultitisforwriterstodisentanglethemselvesfrombadtraditionsisnoticeablewhenwefindGoldsmith，whohadgravecommandoftheComicinnarrative，producinganelegantfarceforaComedy;andFielding，whowasamasteroftheComicbothinnarrativeandindialogue，notevenapproachingtothepresentableinfarce。
　　ThesebadtraditionsofComedyaffectusnotonlyonthestage，butinourliterature，andmaybetrackedintooursociallife。Theyarethegroundoftheheavymoralizingsbywhichweareoutwearied，aboutLifeasaComedy，andComedyasajade，{4}whenpopularwriters，consciousoffatigueincreativeness，desiretobecogentinamodishcynicism:perversionsoftheideaoflife，andoftheproperesteemforthesocietywehavewrestedfrombrutishness，andwouldcarryhigher。Stockimagesofthisdescriptionareacceptedbythetimidandthesensitive，aswellasbythesaturnine，quiteseriously;fornotmanylookabroadwiththeirowneyes，fewerstillhavethehabitofthinkingforthemselves。Life，weknowtoowell，isnotaComedy，butsomethingstrangelymixed;norisComedyavilemask。ThecorruptedimportationfromFrancewasnoxious;anobleentertainmentspoilttosuitthewretchedtasteofavillanousage;
　　andthelaterimitationsofit，partlydrainedofitspoisonandmadedecorous，becametiresome，notwithstandingtheirfun，intheperpetualrecurringofthesamesituations，owingtotheabsenceoforiginalstudyandvigourofconception。Scenev。Act2oftheMisanthrope，owing，nodoubt，tothefactofournotproducingmatterfororiginalstudy，isrepeatedinsuccessionbyWycherley，Congreve，andSheridan，andasitisatsecondhand，wehaveitdonecynically——orsuchisthetone;inthemannerof'belowstairs。'
　　Comedythustreatedmaybeacceptedasaversionoftheordinaryworldlyunderstandingofoursociallife;atleast，inaccordwiththecurrentdictaconcerningit。Theepigramscanbemade;butitisuninstructive，rathertendingtododisservice。Comedyjustlytreated，asyoufinditinMoliere，whomwesoclownishlymishandled，theComedyofMolierethrowsnoinfamousreflectionuponlife。Itisdeeplyconceived，inthefirstplace，andthereforeitcannotbeimpure。Meditateonthatstatement。Neverdidmanwieldsoshriekingascourgeuponvice，buthisconsummateself—masteryisnotshakenwhileadministeringit。TartuffeandHarpagon，infact，aremadeeachtowhiphimselfandhisclass，thefalsepietists，andtheinsanelycovetous。Molierehasonlysettheminmotion。HestripsFollytotheskin，displaystheimpostureofthecreature，andiscontenttoofferherbetterclothing，withthelessonChrysalereadstoPhilaminteandBelise。Heconceivespurely，andhewritespurely，inthesimplestlanguage，thesimplestofFrenchverse。Thesourceofhiswitisclearreason:itisafountainofthatsoil;anditspringstovindicatereason，common—sense，rightnessandjustice;fornovainpurposeever。Thewitisofsuchpervadingspiritthatitinspiresapunwithmeaningandinterest。
　　{5}Hismoraldoesnothanglikeatail，orpreachfromonecharacterincessantlycockinganeyeattheaudience，asinrecentrealisticFrenchPlays:butisintheheartofhiswork，throbbingwitheverypulsationofanorganicstructure。IfLifeislikenedtothecomedyofMoliere，thereisnoscandalinthecomparison。
　　Congreve'sWayoftheWorldisanexceptiontoourothercomedies，hisownamongthem，byvirtueoftheremarkablebrilliancyofthewriting，andthefigureofMillamant。Thecomedyhasnoideainit，beyondthestaleone，thatsotheworldgoes;anditconcludeswiththejadeddiscoveryofadocumentataconvenientseasonforthedescentofthecurtain。AplotwasanafterthoughtwithCongreve。
　　Bythehelpofawoodenvillain（Maskwell）markedGallowstotheflattesteye，hegetsasortofplotinTheDoubleDealer。{6}HisWayoftheWorldmightbecalledTheConquestofaTownCoquette，andMillamantisaperfectportraitofacoquette，bothinherresistancetoMirabelandthemannerofhersurrender，andalsoinhertongue。ThewithereisnotsosalientasincertainpassagesofLoveforLove，whereValentinefeignsmadnessorretortsonhisfather，orMrs。Frailrejoicesintheharmlessnessofwoundstoawoman'svirtue，ifshe'keepsthemfromair。'InTheWayoftheWorld，itappearslesspreparedinthesmartness，andismorediffusedinthemorecharacteristicstyleofthespeakers。Here，however，aselsewhere，hisfamouswitislikeabully—fencer，notashamedtolaytrapsforitsexhibition，transparentlypetulantforthetrainbetweencertainordinarywordsandthepowder—magazineoftheimproprietiestobefired。ContrastthewitofCongrevewithMoliere's。ThatofthefirstisaToledoblade，sharp，andwonderfullysuppleforsteel;castforduelling，restlessinthescabbard，beingsoprettywhenoutofit。Toshine，itmusthaveanadversary。Moliere'switislikearunningbrook，withinnumerablefreshlightsonitateveryturnofthewoodthroughwhichitsbusinessistofindaway。Itdoesnotruninsearchofobstructions，tobenoisyoverthem;butwhendeadleavesandvilersubstancesareheapedalongthecourse，itsnaturalsongisheightened。Withouteffort，andwithnodazzlingflashesofachievement，itisfullofhealing，thewitofgoodbreeding，thewitofwisdom。
　　'Genuinehumourandtruewit，'saysLandor，{7}'requireasoundandcapaciousmind，whichisalwaysagraveone。RabelaisandLaFontainearerecordedbytheircountrymentohavebeenreveurs。FewmenhavebeengraverthanPascal。Fewmenhavebeenwittier。'
　　ToapplythecitationofsogreatabrainasPascal'stoourcountrymanwouldbeunfair。Congrevehadacertainsoundnessofmind;ofcapacity，inthesenseintendedbyLandor，hehadlittle。
　　Judginghimbyhiswit，heperformedsomehappythrusts，andtakingitforgenuine，itisasurfacewit，neitherrisingfromadepthnorflowingfromaspring。
　　'Onvoitqu'ilsetravailleediredebonsmots。'
　　Hedrivesthepoorhackword，'fool，'ascruellytothemarketforwitasanyofhiscompetitors。Hereisanexample，thathasbeenheldupforeulogy:
　　WITWOUD:Hehasbroughtmealetterfromthefoolmybrother，etc。
　　etc。
　　MIRABEL:Afool，andyourbrother，Witwoud？
　　WITWOUD:Ay，ay，myhalf—brother。Myhalf—brotherheis;nonearer，uponmyhonour。
　　MIRABEL:Then'tispossiblehemaybebuthalfafool。
　　Byevidentpreparation。Thisisasortofwitonerememberstohaveheardatschool，ofabrilliantoutsider;perhapstohavebeenguiltyofoneself，atriflelater。Itwas，nodoubt，ablazeofintellectualfireworkstothebumpkinsquire，whocametoLondontogotothetheatreandlearnmanners。
　　WhereCongreveexcelsallhisEnglishrivalsisinhisliteraryforce，andasuccinctnessofstylepeculiartohim。Hehadcorrectjudgement，acorrectear，readinessofillustrationwithinanarrowrange，insnapshotsoftheobviousattheobvious，andcopiouslanguage。Hehitsthemeanofafinestyleandanaturalindialogue。Heisatoncepreciseandvoluble。Ifyouhaveeverthoughtuponstyleyouwillacknowledgeittobeasignalaccomplishment。Inthisheisaclassic，andisworthyoftreadingameasurewithMoliere。TheWayoftheWorldmaybereadoutcurrentlyatafirstglance，sosurearetheaccentsoftheemphaticmeaningtostriketheeye，perforceofthecrispnessandcunningpolishofthesentences。Youhavenottolookoverthembeforeyouconfideyourselftohim;hewillcarryyousafe。Sheridanimitated，butwasfarfromsurpassinghim。TheflowofboudoirBillingsgateinLadyWishfortisunmatchedforthevigourandpointednessofthetongue。Itspinsalongwithafinalring，likethevoiceofNatureinafury，andis，indeed，racyeloquenceoftheelevatedfishwife。
　　Millamantisanadmirable，almostalovableheroine。Itisapieceofgeniusinawritertomakeawoman'smannerofspeechportrayher。Youfeelsensibleofherpresenceineverylineofherspeaking。Thestipulationswithherloverinviewofmarriage，herfinelady'sdelicacy，andfinelady'seasyevasionsofindelicacy，coquettishairs，andplayingwithirresolution，whichinacommonmaidwouldbebashfulness，untilshesubmitsto'dwindleintoawife，'asshesays，formapicturethatlivesintheframe，andisinharmonywithMirabel'sdescriptionofher:
　　'Hereshecomes，i'faith，fullsail，withherfanspread，andherstreamersout，andashoaloffoolsfortenders。'
　　And，afteraninterview:
　　'Thinkofyou！Tothinkofawhirlwind，though'twereinawhirlwind，wereacaseofmoresteadycontemplation，averytranquillityofmindandmansion。'
　　Thereisapicturesqueness，asofMillamantandnoother，inhervoice，whensheisencouragedtotakeMirabelbyMrs。Fainall，whois'sureshehasamindtohim':
　　MILLAMANT:Areyou？IthinkIhave——andthehorridmanlooksasifhethoughtsotoo，etc。etc。
　　Onehearsthetones，andseesthesketchandcolourofthewholesceneinreadingit。
　　CelimeneisbehindMillamantinvividness。AnairofbewitchingwhimsicalityhoversoverthegracesofthisComicheroine，likethelivelyconversationalplayofabeautifulmouth。
　　ButinwitsheisnorivalofCelimene。Whatsheuttersaddstoherpersonalwitchery，andisnotfurthermemorable。Sheisaflashingportrait，andatypeofthesuperiorladieswhodonotthink，notofthosewhodo。Inrepresentingaclass，therefore，itisalowerclass，intheproportionthatoneofGainsborough'sfull—lengtharistocraticwomenisbelowthepermanentimpressivenessofafairVenetianhead。
　　MillamantsidebysidewithCelimeneisanexampleofhowfartherealisticpaintingofacharactercanbecarriedtowinourfavour;
　　andofwhereitfallsshort。Celimeneisawoman'smindinmovement，armedwithanungovernablewit;withperspicaciouscleareyesfortheworld，andaverydistinctknowledgethatshebelongstotheworld，andismostathomeinit。SheisattractedtoAlcestebyheresteemforhishonesty;shecannotavoidseeingwherethegoodsenseofthemanisdiseased。
　　Rousseau，inhislettertoD'AlembertonthesubjectoftheMisanthrope，discussesthecharacterofAlceste，asthoughMolierehadputhimforthforanabsoluteexampleofmisanthropy;whereasAlcesteisonlyamisanthropeofthecirclehefindshimselfplacedin:hehasatouchingfaithinthevirtueresidinginthecountry，andacriticalloveofsweetsimpleness。Norishetheprincipalpersonofthecomedytowhichhegivesaname。Heisonlypassivelycomic。Celimeneistheactivespirit。Whileheisdenouncingandrailing，thetrialisimposeduponhertomakethebestofhim，andcontrolherself，asmuchasawittywoman，eagerlycourted，cando。
　　Byappreciatinghimshepracticallyconfessesherfaultiness，andsheisbetterdisposedtomeethimhalf。waythanheistobendaninch:onlysheisuneamedevingtans，theworldispleasant，andifthegildedfliesoftheCourtaresilly，uncompromisingfanaticshavetheirridiculousfeaturesaswell。Cansheabandonthelifetheymakeagreeabletoher，foramanwhowillnotbeguidedbythecommonsenseofhisclass;andwhoinsistsonplungingintooneextreme——equaltosuicideinhereyes——toavoidanother？ThatisthecomicquestionoftheMisanthrope。Whywillhenotcontinuetomixwiththeworldsmoothly，appeasedbytheflatteryofhersecretandreallysincerepreferenceofhim，andtakinghisrevengeinsatireofit，asshedoesfromherownnotveryloftystandard，andwillbyandbydofromhismoreexaltedone？
　　Celimeneisworldliness:Alcesteisunworldliness。Itdoesnotquiteimplyunselfishness;andthatisperceivedbyhershrewdhead。
　　Stillheisaveryuncommonfigureinhercircle，andsheesteemshim，l'hommeauxrubansverts，'whosometimesdivertsbutmoreoftenhorriblyvexesher，'asshecansayofhimwhenhersatiricaltongueisontherun。Unhappilythesouloftruthinhim，whichwinsheresteem，refusestobetamed，orsilent，orunsuspicious，andistheperpetualobstacletotheirgoodaccord。Heisthatmelancholyperson，thecriticofeverybodysavehimself;intenselysensitivetothefaultsofothers，woundedbythem;inlovewithhisownindubitablehonesty，andwithhisidealofthesimplerformoflifebefittingit:qualitieswhichconstitutethesatirist。HeisaJeanJacquesoftheCourt。HisproposaltoCelimenewhenhepardonsher，thatsheshouldfollowhiminflyinghumankind，andhisfrenzyofdetestationofheratherrefusal，arethoroughlyinthemoodofJeanJacques。Heisanimpracticablecreatureofapricelessvirtue;butCelimenemayfeelthattoflywithhimtothedesert:
　　thatisfromtheCourttothecountry'Oud'etrehommed'honneuronaitlaliberte，'
　　sheislikelytofindherselfthecompanionofastarvingsatirist，likethatpoorprincesswhoranawaywiththewaiting—man，andwhenbothwerehungryintheforest，wasorderedtogivehimflesh。Sheisafieffeecoquette，rejoicinginherwitandherattractions，anddistinguishedbyherinclinationforAlcesteinthemidstofhermanyotherlovers;onlyshefindsithardtocutthemoff——whatwomanwithatraindoesnot？——andwhentheexposureofhernaughtywithaslaidherundertheirrebuke，shewilldotheutmostshecan:
　　shewillgiveherhandtohonesty，butshecannotquiteabandonworldliness。Shewouldbeunwiseifshedid。
　　Thefableisthin。Ourpungentcontriversofplotswouldseenoindicationoflifeintheoutlines。Thelifeofthecomedyisintheidea。Aswiththesingingofthesky—larkoutofsight，youmustlovethebirdtobeattentivetothesong，sointhishighestflightoftheComicMuse，youmustlovepureComedywarmlytounderstandtheMisanthrope:youmustbereceptiveoftheideaofComedy。AndtoloveComedyyoumustknowtherealworld，andknowmenandwomenwellenoughnottoexpecttoomuchofthem，thoughyoumaystillhopeforgood。
　　MenanderwroteacomedycalledMisogynes，saidtohavebeenthemostcelebratedofhisworks。Thismisogynistisamarriedman，accordingtothefragmentsurviving，andisahaterofwomenthroughhatredofhiswife。Hegeneralizesuponthemfromtheexampleofthislamentableadjunctofhisfortunes，andseemstohavegottheworstofitinthecontestwithher，whichisliketheissueinreality，inthepoliteworld。Heseemsalsotohavedeservedit，whichmaybeastruetothecopy。Butweareunabletosaywhetherthewifewasagoodvoiceofhersex:orhowfarMenanderinthisinstanceraisedtheideaofwomanfromthemireitwasplungedintobythecomicpoets，orrathersatiricdramatists，ofthemiddleperiodofGreekComedyprecedinghimandtheNewComedy，whodevotedtheirwitchieflytotheabuse，andforadiversity，totheeulogyofextra—muralladiesofconspicuousfame。Menanderidealizedthemwithoutpurposelyelevating。HesatirizedacertainThais，andhisThaisoftheEunuchusofTerenceisneitherprofessionallyattractivenorrepulsive;hispictureofthetwoAndrians，Chrysisandhersister，isnowheretobematchedfortenderness。ButtheconditionofhonestwomeninhisdaydidnotpermitofthefreedomofactionandfencingdialecticofaCelimene，andconsequentlyitisbelowourmarkofpureComedy。