hter, demands more
than sprightliness, a most subtle delicacy. That must be a natal gift in
the Comic poet. The substance he deals with will show him a startling
exhibition of the dyer's hand, if he is without it. People are ready to
surrender themselves to witty thumps on the back, breast, and sides; all
except the head: and it is there that he aims. He must be subtle to
penetrate. A corresponding acuteness must exist to welcome him. The
necessity for the two conditions will explain how it is that we count him
during centuries in the singular number.

'C'est une etrange entreprise que celle de faire rire les honnetes gens,'
Moliere says; and the difficulty of the undertaking cannot be
over-estimated.

Then again, he is beset with foes to right and left, of a character
unknown to the tragic and the lyric poet, or even to philosophers.

We have in this world men whom Rabelais would call agelasts; that is to
say, non-laughers; men who are in that respect as dead bodies, which if
you prick them do not bleed. The old grey boulder-stone that has finished
its peregrination from the rock to the valley, is as easily to be set
rolling up again as these men laughing. No collision of circumstances in
our mortal career strikes a light for them. It is but one step from being
agelastic to misogelastic, and the [Greek text which cannot be
reproduced], the laughter-hating, soon learns to dignify his dislike as
an objection in morality.

We have another class of men, who are pleased to consider themselves
antagonists of the foregoing, and whom we may term hypergelasts; the
excessive laughers, ever-laughing, who are as clappers of a bell, that
may be rung by a breeze, a grimace; who are so loosely put together that
a wink will shake them.

'. . . C'est n'estimer rien qu'estioner tout le monde,'

and to laugh at everything is to have no appreciation of the Comic of
Comedy.

Neither of these distinct divisions of non-laughers and over-laughers
would be entertained by reading The Rape of the Lock, or seeing a
performance of Le Tartuffe. In relation to the stage, they have taken in
our land the form and title of Puritan and Bacchanalian. For though the
stage is no longer a public offender, and Shakespeare has been revived on
it, to give it nobility, we have not yet entirely raised it above the
contention of these two parties. Our speaking on the theme of Comedy will
appear almost a libertine proceeding to one, while the other will th