who sat through an Athenian Comic play, that they could have had small
delicacy in other affairs when they had so little in their choice of
entertainment. Perhaps he does not make sufficient allowance for the
regulated licence of plain speaking proper to the festival of the god,
and claimed by the Comic poet as his inalienable right, or for the fact
that it was a festival in a season of licence, in a city accustomed to
give ear to the boldest utterance of both sides of a case. However that
may be, there can be no question that the men and women who sat through
the acting of Wycherley's Country Wife were past blushing. Our tenacity
of national impressions has caused the word theatre since then to prod
the Puritan nervous system like a satanic instrument; just as one has
known Anti-Papists, for whom Smithfield was redolent of a sinister smoke,
as though they had a later recollection of the place than the lowing
herds. Hereditary Puritanism, regarding the stage, is met, to this day,
in many families quite undistinguished by arrogant piety. It has
subsided altogether as a power in the profession of morality; but it is
an error to suppose it extinct, and unjust also to forget that it had
once good reason to hate, shun, and rebuke our public shows.

We shall find ourselves about where the Comic spirit would place us, if
we stand at middle distance between the inveterate opponents and the drum-
and-fife supporters of Comedy: 'Comme un point fixe fait remarquer
l'emportement des autres,' as Pascal says. And were there more in this
position, Comic genius would flourish.

Our English idea of a Comedy of Manners might be imaged in the person of
a blowsy country girl--say Hoyden, the daughter of Sir Tunbelly Clumsy,
who, when at home, 'never disobeyed her father except in the eating of
green gooseberries'--transforming to a varnished City madam; with a loud
laugh and a mincing step; the crazy ancestress of an accountably fallen