together in social life their minds grow liker; just as the philosopher
discerns the similarity of boy and girl, until the girl is marched away
to the nursery. Philosopher and Comic poet are of a cousinship in the
eye they cast on life: and they are equally unpopular with our wilful
English of the hazy region and the ideal that is not to be disturbed.

Thus, for want of instruction in the Comic idea, we lose a large audience
among our cultivated middle class that we should expect to support
Comedy. The sentimentalist is as averse as the Puritan and as the
Bacchanalian.

Our traditions are unfortunate. The public taste is with the idle
laughers, and still inclines to follow them. It may be shown by an
analysis of Wycherley's Plain Dealer, a coarse prose adaption of the
Misanthrope, stuffed with lumps of realism in a vulgarized theme to hit
the mark of English appetite, that we have in it the keynote of the
Comedy of our stage. It is Moliere travestied, with the hoof to his foot
and hair on the pointed tip of his ear. And how difficult it is for
writers to disentangle themselves from bad traditions is noticeable when
we find Goldsmith, who had grave command of the Comic in narrative,
producing an elegant farce for a Comedy; and Fielding, who was a master
of the Comic both in narrative and in dialogue, not even approaching to
the presentable in farce.

These bad traditions of Comedy affect us not only on the stage, but in
our literature, and may be tracked into our social life. They are the
ground of the heavy moralizings by which we are outwearied, about Life as
a Comedy, and Comedy as a jade, {4} when popular writers, conscious of
fatigue in creativeness, desire to be cogent in a modish cynicism:
perversions of the idea of life, and of the proper esteem for the society