Terence. His polite images are all represented in the most clear and
perspicuous expression; but his characters are too general and
uniform, nor are they marked with those discriminating peculiarities
that distinguish one man from another; there is a tedious and
disgusting sameness of incidents in his plots, which, as hath been
observed in a former paper, are too complicated and intricate. It may
be added, that he superabounds in soliloquies; and that nothing can be
more inartificial or improper, than the manner in which he hath
introduced them.

To these three celebrated ancients, I venture to oppose singly the
matchless Moliere, as the most consummate master of comedy that former
or latter ages have produced. He was not content with painting obvious
and common characters, but set himself closely to examine the
numberless varieties of human nature: he soon discovered every
difference, however minute; and by a proper management could make it
striking: his portraits, therefore, though they appear to be
new, are yet discovered to be just. The Tartuffe and the Misantrope
are the most singular, and yet, perhaps, the most proper and perfect
characters that comedy can represent; and his Miser excels that of any
other nation. He seems to have hit upon the true nature of comedy;
which is, to exhibit one singular, and unfamiliar character, by such a
series of incidents as may best contribute to shew its singularities.
All the circumstances in the Misantrope tend to manifest the peevish
and captious disgust of the hero; all the circumstances in the
Tartuffe are calculated to shew the treachery of an accomplished
hypocrite. I am sorry that no English writer of comedy can be produced
as a rival to Moliere: although it must be confessed, that Falstaff
and Morose are two admirable characters, excellently, supported and
displayed; for Shakespear has contrived all the incidents to