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Comedy, yet it has ever been understood that what constitutes the essential and invariable character of each is something which is expressed by the terms tragic and comic, and comes under the head of serious or ludicrous emotions. Referring therefore to a future consideration, the propriety of introducing serious parts in a Comedy, I shall now lay down the character of Comedy as a dramatic composition, exhibiting a ludicrous picture of human life and manners.

      There are two sources of ludicrous emotions which it is proper here to distinguish. One of these arises from character, the other from incident. The first is attached and appropriated to the person, and makes a part, as it were, of his composition. The other is merely accidental, proceeding from awkward situations, odd and uncommon circumstances, and the like, which may happen indifferently to every person. If we compare these with regard to their dignity and utility, we shall find a further difference; since that proceeding from character belongs to a very respectable part of knowledge, that of human manners; and has for its end the correction of foibles: whereas that proceeding from incident is mean and trivial in its origin, and answers no other purpose than present mirth. ’Tis true, it is perfectly natural to be pleased with risible objects, even of the lowest kind, and a fastidious aversion to their exhibition may be accounted mere affected nicety; yet, since we rank Comedy among the higher and more refined species of composition, let us assign it the more honourable office of exhibiting and correcting the ludicrous part of characters; and leave to Bartholomew Fair the ingenious contrivances of facetious drollery, and handicraft merriment.

      The following sources may be pointed out from whence comic character is derived.

Nations, like individuals, have certain leading features which distinguish them from others. Of these there are always some of a ludicrous cast which afford matter of entertainment to their neighbours. Comedy has at all times made very free with national peculiarities; and, although the ridicule has often been conducted in a trivial and illiberal manner, by greatly overcharging the picture, and introducing idle and unjust accusations, yet I think we need not go so far as entirely to reject this sort of ludicrous painting; since it may be as important to warn against the imitation of foreign follies, as those of our own growth. Indeed, when a Frenchman or Irishman is brought upon our stage merely to talk broken English, or make bulls, there can be no plea either of wit or utility to excuse the illiberal jest: but, when the nicer distinctions of national character are exposed with a just and delicate ridicule, the spectacle may be both entertaining and instructive. Amidst the tribe of foreign valets to be met with on the English theatre, I would instance Canton in the Clandestine Marriage, as an admirable example of true national character, independent on language and grimace. The obsequiousness and attentive flattery of the servile Swiss-Frenchman are quite characteristic, as well as the careless insolence and affected airs of Brush the English footman[1]. O’Flaherty, the Irish soldier of fortune in the West Indian, is an example of similar merit; much more so, I think, than the character from which the piece has its title.

[1] I am concerned to observe an instance of illiberal national ridicule without any merit of composition to palliate it, from a respectable dramatic writer, which is also rendered much more obnoxious by the circumstances. M. Voltaire’s Ecossaise was purposely written to exhibit a worthy English character; marked, indeed, with some whimsical peculiarities, but distinguished by a strong spirit of benevolence. It was impossible to expose national foibles more gently than by combining them with national virtues. When this Piece was brought on our stage under the title of the English Merchant, a French valet was inserted among the personæ dramatis, characterised by nothing but his false English, and for no other end but to be exhibited as a scoundrel!

      Although some part of the character of a nation is pretty uniform and constant, yet its manners and customs in many points are extremely variable. These variations are the peculiar modes and fashions of the age; and hence the age, as well as the nation, acquires a distinguishing character. Fashion, in general, usurps a dominion only over the smaller and less important part of manners; such as dress, public diversions, and other matters of taste. The improprieties of fashion are therefore of the absurd and ludicrous kind, and consequently fit subjects of comic ridicule. There is no source of Comedy more fertile and pleasing than this; and none in which the end of reformation is likely to be so well answered. An extravagant fashion is exhibited upon the stage with such advantage of ridicule, that it can scarcely stand long against it; and I make no doubt that Moliere’s Marquis de Mascarille, and Cibber’s Lord Foppington, had a considerable share in reforming the prevailing foppery of the times. Fashion has also too much interfered in some more serious matters, as the sentiments and studies of the age. Here too Comedy has made its attacks; and the Alchemist, the Virtuoso, the Antiquary, the Belle Esprit, have in their turns undergone the ridicule of the stage, when their respective pursuits, by being fashionable, were carried to a fanciful extravagance. It is well known that Moliere, in his comedies of the Femmes Sçavantes, and the Precieuses Ridicules, was as successful against the pedantry and pretensions to wit which infected the French nation, and particularly the ladies, at that period, as Cervantes in his attack upon knight-errantry.

      There is another point of national or fashionable folly in which Comedy might be very useful; yet the attempt has been found dangerous; and perhaps the subject is too delicate for the stage, considering the abuses to which it is liable. I mean popular superstition, and priestcraft. Moliere, who with impunity had attacked every other species of folly, was almost ruined by exposing a hypocrite and a devotee; and the licentious ridicule of Dryden, and others of that age, was generally aimed, not only against superstition, but religion. The Spanish Friar, however, is an instance in which, with exquisite humour, the ridicule can hardly be blamed as improper; and it certainly did more hurt to Roman Catholic superstition than he could ever remedy by his scholastic Hind and Panther. How far the Minor comes under the same description, would, probably, be a subject of dispute.

      Particular ranks and professions of men have likewise characteristical peculiarities which are capable of being placed in a ludicrous view; and Comedy has made frequent use of this source of ridicule. In exposing professional, as well as national absurdities, great illiberality and unfairness have been shewn; both, probably, from the same cause; a want of sufficient acquaintance with the whole characters, and taking a judgment of them from a few external circumstances. Yet, upon the whole, good effects may have arisen even from this branch of Comedy; since, by attacking a profession on a side where it was really weak, the members of it have been made sensible of, and have reformed those circumstances which rendered them ridiculous. A good-natured physician can never be angry at Moliere’s most laughable exhibitions of the faculty, when he reflects that the follies ridiculed, though exaggerated in the representation, had a real existence; and, by being held up to public derision, have been in a great measure reformed. The professors of law, being necessarily confined to forms and rules, have not been able to benefit so much from the comic ridicule of which they have enjoyed an equally plentiful share.

      Besides the arrangements which nation and profession make of mankind, there are certain natural classes formed from the diversities of personal character. Although the varieties of temper and disposition in men are infinite, so that no two persons probably ever existed in whom there was an exact conformity, yet there are certain leading features of character which produce a general resemblance among numerous individuals. Thus the proud man, the vain, the sanguine, the splenetic, the suspicious, the covetous, the lavish, and so forth, are a sort of abstract characters which divide the whole human race amongst them. Now there are, belonging to all these, objects of ridicule which it has been the business of Comedy to exhibit; and though, perhaps, no one individual of each class perfectly resembled the person held to view on the stage, yet if all the circumstances exhibited are contained in the general character, it appears sufficiently natural. The Miser of Moliere is not a picture of any one miser who ever lived, but of a miser considered as forming a class of human characters. As these general classes, however, are few in number, they must be soon exhausted by the writers of Comedy, who have been obliged, for the sake of variety, to exhibit those peculiarities which are more rare and singular. Hence have been derived many pictures of that character which we call

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