Having thus attempted to trace the different sources of what I conceive the essential part of true Comedy, the ridicule derived from character, it remains to say somewhat of the mixture of additional matter which it has received as a composition.
During a considerable period of modern literature, wit was a commodity in great request, and frequently to be met with in all kinds of composition. It was no where more abundant than in Comedy, the genius of which it appeared peculiarly to suit, from its gaiety and satyrical smartness. Accordingly, the language of Comedy was a string of repartees, in which a thought was bandied about from one to another, till it was quite run out of breath. This made a scene pass off with great vivacity; but the misfortune was, that distinction of character was quite lost in the contest. Every personage, from the lord to the valet, was as witty as the author himself; and, provided good things enow were said, it was no matter from whom they came. Congreve, with the greatest talents for true comic humour, and the delineation of ludicrous characters, was so over-run with a fondness for brilliancy, as frequently to break in upon consistency. Wit is an admirable ornament of Comedy, and, judiciously applied, is a high relief to humour, but should never interfere with the more essential parts.
We are now, however, happily free from all manner of danger of an inundation of wit. No Congreve arises to disturb the sententious gravity, and calm simplicity of modern Comedy. A moralist may congratulate the age on hearing from the theatre compositions as pure, serious and delicate, as are given from the pulpit. When we consider how much wit and humour, at the time they were most prevalent, were perverted to vicious purposes, we may rejoice at the sacrifice; yet we may be allowed to feel a regret at the loss of an amusement which might, certainly, have been reconciled with innocence; nay, might perhaps have pleaded utility beyond what is substituted in its room. Sentimental Comedy, as it is called, contains but very faint discrimination of character, and scarcely any thing of ridicule. Its principal aim is to introduce elegant and refined sentiment, particularly of the benevolent cast; and to move the heart by tender and interesting situations. Hence they are, in general, much more affecting than our modern Tragedies, which are formed upon nearly the same plan, but labour under the disadvantage of a formal, stately stile, and manners removed too far from the rank of common life. One would not, perhaps, wish altogether to banish from the stage pieces so moral and innocent; yet it is a pity they are not distinguished by some appropriated name from a thing they so little resemble as true Comedy.
I fear, a view of modern manners in other respects will scarcely allow us to flatter ourselves that this change in the theatre chiefly proceeds from improved morality. It may, perhaps, be more justly attributed to a false delicacy of taste, which renders us unable to bear the representation of low life; and to a real deficiency in genius. With respect to the first, genuine Comedy knows no distinction of rank, but can as heartily enjoy a humourous picture in the common walks of life, where indeed the greatest variety is to be found, as in the most cultivated and refined. Some have placed the distinction between Farce and Comedy in the rank from whence the characters are taken; but, I think, very improperly. If there is any real distinction besides the length of the pieces, I should take it from the different source of the humour; which in Farce is mere ludicrous incident, but in Comedy, ridiculous character. This criterion, however, will not at all agree with the titles under which each species has already appeared.
As to the other cause, deficiency of genius, it too plainly appears in many other productions. Cold correctness has laid her repressing hand upon imagination, and damped all her powers. The example of the ancients has been thought to justify the gravity and simplicity of modern Comedy. But, great as they were in many qualities of the mind, in those of wit and humour they were still more defective than even ourselves in the present age. They, who would eagerly catch at a wretched pun, or a meager piece of plot, were certainly with-held from witticism and drollery by want of invention, not justness of taste. I admire, in the pure Latin of Terence, the elegant sentiment, and still more the knowledge of the human heart, with which he abounds; but I would not on that account compare his genius, at least in Comedy, with Moliere and Congreve.
Lenibus atque utinam scriptis adjuncta foret vis
Comica ———– ———– ———–
Moral sentiment is the cheapest product of the mind. Novels, and magazines, and even news-papers, are full of it; but wit and humour threaten to leave us with Chesterfield and Sterne.
Still, however, I would hope the state of Comedy is not desperate. The Clandestine Marriage exhibits an example of comic merit, as various and perfect as perhaps any piece in our language. All the sources of ludicrous character have contributed to it. National ridicule appears in Canton, and professional in Sterling. Lord Ogleby is an excellent humourist. Mrs. Heidleberg and her niece, besides a comic pettishness of temper, have plenty of fashionable follies, modified by city vulgarism. Even the lovers of tender sentiment have their share in the entertainment; and I by no means would object to its occasional introduction, when, as it were, offering itself from the circumstances. Then, besides Mr. Foote’s comic theatre, we have several pieces, which, though ranged under the list of Farces, contain true and original Comedy. Of these we may instance the Citizen, Polly Honeycomb, the Upholsterer, the Apprentice, and the Oxonian in Town. It is a mistake to suppose that the matter of Comedy can ever fail. Though general characters may be exhausted, yet the prevailing follies and fashions of the times, with the singularities starting up in particular ranks and orders of men, must constantly supply food for the ridicule of the stage. This is lawful game; and the pursuit of it is well worthy the encouragement of the public, so long as it is unattended with the licentiousness which disgraced the wit of the last age. Let ridicule be sacred to the interests of good sense and virtue; let it never make a good character less respectable, nor a bad one less obnoxious; but let us not resign its use to common-place maxim, and insipid sentiment.