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on of others, but rather their unnecessary understanding; who, like SANCHO PANZA's Doctor, prescribe too strictly to our appetites. For_, says he, _in the difference of Tragedy and Comedy and of Farce itself; there can be no determination but by the taste; nor in the manner of their composure_. We shall see him, now, as great a Critic as he was a Poet: and the reason why he excelled so much in Poetry will be evident; for it will have proceeded from the exactness of his Judgement. _In the difference of Tragedy, Comedy, and Farce itself; there can be no determination but by the taste_. I will not quarrel with the obscurity of this phrase, though I justly might: but beg his pardon, if I do not rightly understand him. If he means that there is no essential difference betwixt Comedy, Tragedy, and Farce; but only what is made by people's taste, which distinguishes one of them from the other: that is so manifest an error, that I need lose no time to contradict it. Were there neither Judge, Taste, or Opinion in the world; yet they would differ in their natures. For the Action, Character, and Language of Tragedy would still be great and high: that of Comedy, lower and more familiar. Admiration would be the Delight of the one: Satire, of the other. I have but briefly touched upon these things; because, whatever his words are, I can scarce[ly] imagine that _he who is always concerned for the true honour of Reason, and would have no spurious issue fathered upon her_ [p. 578], should mean anything so absurd, as to affirm _that there is no difference between Comedy and Tragedy, but what is made by taste only_: unless he would have us understand the Comedies of my Lord L. [?]; where the First Act should be _Potages_, the Second, _Fricasses &c._, and the Fifth, a _chere entiere_ of women. I rather guess, he means that betwixt one Comedy or Tragedy and another; there is no other difference but what is made by the liking or disliking of the audience. This is, indeed, a less error than the former; but yet it is a great one. The liking or disliking of the people gives the Play the _denomination_ of "good" or "bad"; but does not really make or constitute it such. To please the people ought to be the Poet's aim [pp. 513, 582, 584]; because Plays are made for their delight: but it does not follow, that they are always pleased with good plays; or that the plays which please them, are always good. The Humour of the people is now
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