It is obviously from hence, that the Character of Sir Roger de Coverly in the Spectators is so extremely agreeable. His Foibles are all derived from some amiable Cause.--If he believes that one Englishman can conquer two Frenchmen, you laugh at his Foible, and are fond of a Weakness in the Knight, which proceeds from his high Esteem of his own Country-men.--If he chuses you should employ a Waterman or Porter with one Leg, you readily excuse the Inconvenience he puts you to, for his worthy regard to the Suffering of a brave Soldier.--In short, though he is guilty of continual Absurdities, and has little Understanding or real Abilities, you cannot but love and esteem him, for his Honour, Hospitality, and universal Benevolence.
It is indeed true, that his Dignity, Age, and Rank in his Country, are of constant Service in upholding his Character. These are a perpetual Guard to the Knight, and preserve him from Contempt upon many Occasions.--All which corresponds entirely with the fore-going Remark. For you would be fond of Sir Roger's Acquaintaince and Company in real Life, as he is a Gentleman of Quality and Virtue; You love and admire him in the Spectators for the same Reasons; And for these also he would become, if he was rightly exhibited, a favorite Character in the Theatre.
It may be proper to observe in this Place, that the Business of Comedy is to exhibit the whimsical unmischievous Oddities, Frolics, and Foibles of Persons in real Life; And also to expose and ridicule their real Follies, Meanness, and Vices. The former, it appears, is more pleasurable to the Audience, but the latter has the Merit of being more instructive.
The Business of Tragedy is to exhibit the Instability of human Grandeur, and the unexpected Misfortunes and Distresses incident to the Innocent and Worthy in all Stations.--And also to shew the terrible Sallies and the miserable Issue and Punishment of ungovern'd Passions and Wickedness.--The former softens the Heart and fills it with Compassion, Humility and Benevolence.--Compositions of this Sort are the highest, most admirable, and useful in all Nature, when they are finish'd with Propriety and Delicacy, and justly wrought up with the Sublime and Simplicity.--The latter Species of Tragedy terrifies and shocks us, in exhibiting both the Crimes and the Punishments. It threatens us into Moderation and Justice, by shewing the terrible Issue of their Contraries. Pieces of this Sort, conducted with Propriety, and carrying Application to ourselves, can scarcely be desireable; But as they are generally conducted, they amount only to giving us an absurd Representation of a Murther committed by some furious foaming Basha, or Sultan.
To return.--Johnson in his comic Scenes has expos'd and ridicul'd Folly and Vice; Shakespear has usher'd in Joy, Frolic and Happiness.--The Alchymist, Volpone and Silent Woman of Johnson, are most exquisite Satires. The comic Entertainments of Shakespear are the highest Compositions of Raillery, Wit and Humour. Johnson conveys some Lesson in every Character. Shakespear some new Species of Foible and Oddity. The one pointed his Satire with masterly Skill; the other was inimitable in touching the Strings of Delight. With Johnson you are confin'd and instructed, with Shakespear unbent and dissolv'd in Joy. Johnson excellently concerts his Plots, and all his Characters unite in the one Design. Shakespear is superior to such Aid or Restraint; His Characters continually sallying from one independent Scene to another, and charming you in each with fresh Wit and Humour.
It may be further remark'd, that Johnson by pursuing the most useful Intention of Comedy, is in Justice oblig'd to hunt down and demolish his own Characters. Upon this Plan he must necessarily expose them to your Hatred, and of course can never bring out an amiable Person. His Subtle, and Face are detected at last, and become mean and despicable. Sir Epicure Mammon is properly trick'd, and goes off ridiculous and detestable. The Puritan Elders suffer for their Lust of Money, and are quite nauseous and abominable; And his Morose meets with a severe Punishment, after having sufficiently tir'd you with his Peevishness.--But Shakespear, with happier Insight, always supports his Characters in your Favour. His Justice Shallow withdraws before he is tedious; The French Doctor, and Welch Parson, go off in full Vigour and Spirit; Ancient Pistoll indeed is scurvily treated; however, he keeps up his Spirits, and continues to threaten so well, that you are still desirous of his Company; and it is impossible to be tir'd or dull with the gay unfading Evergreen Falstaff.
But in remarking upon the Characters of Johnson, it would be unjust to pass Abel Drugger without notice; This is a little, mean, sneaking, sordid Citizen, hearkening to a Couple of Sharpers, who promise to make him rich; they can scarcely prevail upon him to resign the least Tittle he possesses, though he is assur'd, it is in order to get more; and your Diversion arises, from seeing him wrung between Greediness to get Money, and Reluctance to part with any for that Purpose. His Covetousness continually prompts him to follow the Conjurer, and puts him at the same Time upon endeavouring to stop his Fees. All the while he is excellently managed, and spirited on by Face. However, this Character upon the whole is mean and despicable, without any of that free spirituous jocund Humour abounding in Shakespear. But having been strangely exhibited upon the Theatre, a few Years ago, with odd Grimaces and extravagant Gestures, it has been raised into more Attention than it justly deserved; It is however to be acknowledg'd, that Abel has no Hatred, Malice or Immorality, nor any assuming Arrogance, Pertness or Peevishness; And his eager Desire of getting and saving Money, by Methods he thinks lawful, are excusable in a Person of his Business; He is therefore not odious or detestable, but harmless and inoffensive in private Life; and from thence, correspondent with the Rule already laid down, he is the most capable of any of Johnson's Characters, of being a Favourite on the Theatre.
It appears, that in Imagination, Invention, Jollity and gay Humour, Johnson had little Power; But Shakespear unlimited Dominion. The first was cautious and strict, not daring to sally beyond the Bounds of Regularity. The other bold and impetuous, rejoicing like a Giant to run his Course, through all the Mountains and Wilds of Nature and Fancy.
It requires an almost painful Attention to mark the Propriety and Accuracy of Johnson, and your Satisfaction arises from Reflection and Comparison; But the Fire and Invention of Shakespear in an Instant are shot into your Soul, and enlighten and chear the most indolent Mind with their own Spirit and Lustre.--Upon the whole, Johnson's Compositions are like finished Cabinets, where every Part is wrought up with the most excellent Skill and Exactness;--Shakespear's like magnificent Castles, not perfectly finished or regular, but adorn'd with such bold and magnificent Designs, as at once delight and astonish you with their Beauty and Grandeur.
Raillery is a genteel poignant Attack of a Person upon any slight Foibles, Oddities, or Embarrassments of his, in which he is tender, or may be supposed to be tender, and unwilling to come to a free Explanation.