such as the Melanide, and Préjugé à la Mode, of La Chaussée; the Père de Famille, of Diderot; the Cénie, of Mad. Graffigny; and the Nanine, and L'Enfant Prodigue, of Voltaire.

When this form of comedy first appeared in France, it excited a great controversy among the critics. It was objected to, as a dangerous and unjustifiable innovation in compositon. It is not tragedy, for it does not involve us in sorrow. By what name then can it be called? or what pretentions hath it to be comprehended under dramatic writing? But this was trifling, in the most egregious manner, with critical names and distinctions, as if these had invariably fixed the essence, and ascertained the limits of every sort of composition. Assuredly, it is not necessary that all comedies should be formed on one precise model. Some may be entirely light and gay; others may incline more to the serious; some may partake of both, and all of them, properly executed, may furnish agreeable and useful entertainment to the public, by suiting the different tastes of men.* Serious and tender comedy has no title to claim to itself the possession of the stage, to the exclusion of ridicule and gayety. But when it retains only its proper place, without usurping the province of any other, when it is carried on with resemblance to real life, and without introducing romantic and unnatural situations, it may certainly prove both an interesting and an agreeable species of dramatic writing. If it become insipid and drawling, this must be imputed to the fault of the author, not to the nature of the composition, which may admit much liveliness and vivacity.

In general, whatever form comedy assumes, whether gay or serious, it may always be esteemed a mark of society advancing in true politeness, when those theatrical exhibitions, which are designed for public amusement, are cleared from indelicate sentiment, or immoral tendency. Though the licentious buffoonery of Aristophanes amused the Greeks for a while, they advanced by degrees to a chaster and juster taste; and the like progress of refinement may be concluded to take place among us, when the public receive with favour, dramatic compositions of such a strain and spirit as entertained the Greeks and Romans, in the days of Menander and Terence.

Il y a beaucoup de tres-bonnes pièces, où il ne règne que de la gaieté: d'autres toutes sérieuses; d'autres melangées; d'autres, où l'attendrissement va jusqu'aux larmes. Il ne faut donner exclusion à aucun genre; et si l'on me demandoit, quel genre est le meilleur ? je répondrois, celui qui est le mieux traité.'

VOLTAIRE.

QUESTIONS.

By what is comedy sufficiently dis- pairs, is like what? As in every sort of criminated from tragedy? What form composition, the perfection of art is to the province of the latter; and what is conceal art, how will a masterly writer the sole instrument of the former? give us his characters? What should What does comedy propose for its ob- the style of comedy be? Of the French ject? Of the general idea of comedy, rhyme, what is here observed; and what what is observed; and why? What is remark follows? What is one of the most doing real service to the world; and difficult and one of the most imporwhat remark follows? At the same tant circumstances in writing comedy? time, what must be confessed; and What is here observed of our English why? What, therefore, have licentious comedies; what ones are mentioned, writers of the comic class, too often had and what is said of them? What remark in their power? Of this fault, what is follows; but how will its nature and spirit observed? How is this illustrated? Of be better understood? With what reFrench, and of English comedy, what mark does our author commence; and is here observed? How are our disqui-how is it probable comedy took its rise? sitions concerning comedy shortened? What three stages of comedy do critics To both these forms of dramatic com- distinguish among the Greeks? In what position, what is equally necessary? did the ancient consist? Of this nature, What was shown to be the scope of all are whose plays, and what is said of these rules; and why is this necessary? them? What do they show? What are Why does this require a stricter obser- several of Aristophanes's plays? Of vance of the dramatic rules in comedy, what are they full; what is the consethan in tragedy; and what are the quence; and with what do they abound? great foundation of the whole beauty What are his characteristics? On many of comedy? Of the subjects of tragedy, occasions, what does he display; but of what is here observed? Why does the his performances, what remark follows? reverse of this hold in comedy? How is Why do they seem to have been comthis illustrated? At what should the posed for the mob? Of the treatment comic poet aim? What is not his busi- given by this comedian to Socrates, ness; what should he give us; and why? what is observed? What is remarked Of Plautus and Terence, what is of the chorus in his plays? Soon afhere remarked; but what must be re- ter the days of Aristophanes, what took membered? In after times, what had place? Why was the chorus also the Romans? Into what two kinds may banished? Then what arose, and what comedy be divided; and of them, re- was it? How was it conducted; and spectively, what is observed? In which what remark follows? To them sucdo the French most abound; and what ceeded what, and what did the stage instances are given? In which do the then become? Of Menander what is English; and what remark follows? observed? What are the only remains In order to give this sort of composition which we now have of the new comeits proper advantage, what is requisite ? dy? For what is Plautus distinguished? How is this remark fully illustrated? As he wrote at an early period, what is Of the action in comedy, what is re- the consequence? How does he open marked; and why? Hence, what is a his plays; and what are sometimes congreat fault? What are now justly con- founded? Of him, what is farther redemned and laid aside; and why? marked? Which of his plays have What remark follows? In the manage- been copied ; and by whom? What is ment of characters, what is one of the said of Terence? Of what is his style most common faults of comic writers? a model? What is observed of his diaWherever ridicule is concerned, what logue; and what does he, beyond most is very difficult? What instance is writers, possess? What is the general mentioned; and of it, what is remarked? character of his morality; and what Of the characters in comedy, what is remark follows? Hence, of what may observed; but what give too theatrical he be considered the founder? In what, and affected an air to the piece? Why if in any thing, does he fail? How is has this become too common a resource this illustrated? In order to form a perof comic writers? How is this illustra- fect comic author, what would be reted? What instances are mentioned; quisite? and such production of characters by

When we enter on the view of mo

dern comedy, what is one of the first how is this irregularity compensated? objects which presents itself; and of it, At what are we surprised; and why? what is observed? Who are the chief What is said of Sir John Vanburgh? Spanish comedians? Of Lopez de How is this illustrated? Of Congreve, Vega, what is remarked? Of these what is observed; and what is his chief plays, what is the nature? At the same fault? How is this illustrated? What time, what is generally admitted? kind of a writer is Farquhar? Which What apology does he himself give, are his two best plays? Why does our for the extreme irregularity of his com- author say the least exceptionable? positions? What are the general cha- How is this fully illustrated? Of the racters of the French comic theatre? censure which our author has now What writers of note has it produced? passed, what is observed; and why? Of Moliere, what is farther observed? How do foreigners speak of this? How What does Voltaire boldly pronounce is this illustrated? Of what, therefore, him? Of this decision, what is obser- is there no wonder, and what does he ved? Of what is Moliere always the say? To have what in his power, howsatirist; and what has he done? What ever, is our author happy; and of what does he possess, and of what is he full? have we at last become ashamed? Of his comedies in verse, what is ob- What remark follows? For this reforserved; and also of those in prose, mation, to what are we indebted; and what is remarked? Together with of it what is observed? From what those high qualities what defects has does it appear that this is not altogehe? Few writers, however, have done ther a modern invention? Of the nawhat, so perfectly as he has? Which are ture of this composition, what is obseraccounted his two capital productions? ved? What comedy have we in EngFrom the English theatre, what are we lish that approaches this character; naturally led to expect; and why? What and what is said of it? In French, afford full scope to the display of singu- what are there; and name them? larity of character, and to the indulgence When this form of comedy first apof humour? What is the case in France? peared in France, how was it received? Hence, what follows; but what is ex- Why was it objected to; and what tremely unfortunate? How does it ap- was said of it? But of this, what is obpear that the first age of English come- served? Why should not all comedies dy was not infected by this spirit? Of be formed on one precise model? Of Shakspeare's general character, par-serious and tender comedy, what is farticularly, what is observed? What is ther remarked? But when may it prove also said of Jonson? What is remarked both an interesting and an agrecof the plays of Beaumont and Fletcher; but in general, with what do they abound? How have these comedies become too obsolete to be very agreeable; and why? With what comedies is this especially the case; and for what reason? Of Plautus, what is here observed; and what is a high proof of Shakspeare's genius? When did licentiousness seize on comedy for its province? Who then became the hero of every comedy; and upon what was the ridicule thrown? At the end of the play, what commonly took place? But for what is he set up throughout it, and what is the consequence? What remark follows; and how long did this spirit prevail upon the comic stage? What is said of Dryden? As he sought to please only, what was the consequence? Since his time, who have been the writers of greatest note? Of Cibber, what is remarked? Of the former, what is observed; and what is said of the latter? To what is it liable; and why? But

able species of dramatic writing? If it become insipid and drawling, to what must this be imputed? What may always be esteemed a mark of society advancing in true politeness? Repeat the closing remark.

Comedy.

ANALYSIS.

1. The nature of comedy.
2. Rules respecting it.

3. The scene and subjects.

4. The different kinds of comedy.
5. The characters.

6. The style.

7. The origin of comedy.
8. Greek comedy.

A. The different stages of it.
9. Spanish comedy.
A. Lopez de Vega.
10. French comedy.
A. Moliere.

11.

English comedy.

A. Shakspeare-Beaumont-Fletcher.
B. Dryden-Cibber-Vanburgh-Con-

greve.

c. A new species of comedy.

INDEX.