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.
Those who detect irony in Comedy do so because they choose to see it in
life. Poverty, says the satirist, has nothing harder in itself than that
it makes men ridiculous. But poverty is never ridiculous to Comic
perception until it attempts to make its rags conceal its bareness in a
forlorn attempt at decency, or foolishly to rival ostentation. Caleb
Balderstone, in his endeavour to keep up the honour of a noble household
in a state of beggary, is an exquisitely comic character. In the case of
'poor relatives,' on the other hand, it is the rich, whom they perplex,
that are really comic; and to laugh at the former, not seeing the comedy
of the latter, is to betray dulness of vision. Humourist and Satirist
frequently hunt together as Ironeists in pursuit of the grotesque, to the
exclusion of the Comic. That was an affecting moment in the history of
the Prince Regent, when the First Gentleman of Europe burst into tears at
a sarcastic remark of Beau Brummell's on the cut of his coat. Humour,
Satire, Irony, pounce on it altogether as their common prey. The Comic
spirit eyes but does not touch it. Put into action, it would be
farcical. It is too gross for Comedy.

Incidents of a kind casting ridicule on our unfortunate nature instead of
our conventional life, provoke derisive laughter, which thwarts the Comic
idea. But derision