solemnity, if we would not press upon his shrewdest nerve. Finite and
infinite flash from one to the other with him, lending him a two-edged
thought that peeps out of his peacefullest lines by fits, like the
lantern of the fire-watcher at windows, going the rounds at night. The
comportment and performances of men in society are to him, by the vivid
comparison with their mortality, more grotesque than respectable. But
ask yourself, Is he always to be relied on for justness? He will fly
straight as the emissary eagle back to Jove at the true Hero. He will
also make as determined a swift descent upon the man of his wilful
choice, whom we cannot distinguish as a true one. This vast power of
his, built up of the feelings and the intellect in union, is often
wanting in proportion and in discretion. Humourists touching upon
History or Society are given to be capricious. They are, as in the case
of Sterne, given to be sentimental; for with them the feelings are
primary, as with singers. Comedy, on the other hand, is an
interpretation of the general mind, and is for that reason of necessity
kept in restraint. The French lay marked stress on _mesure et gout_, and
they own how much they owe to Moliere for leading them in simple justness
and taste. We can teach them many things; they can teach us in this.

The Comic poet is in the narrow field, or enclosed square, of the society
he depicts; and he addresses the still narrower enclosure of men's
intellects, with reference to the operation of the social world upon
their characters. He is not concerned with beginnings or endings or
surroundings, but with what you are now weaving. To understand his work
and value it, you must have a sober liking of your kind and a sober
estimate of our civilized qualities. The aim and business of the Comic
poet are misunderstood, his meaning is not seized nor his point of view
taken, when he is accused of dishonouring our nature and being hostile to
sentiment, tending to spitefulness and making an unfair use of laughter.