ink
that the speaking of it seriously brings us into violent contrast with
the subject.

Comedy, we have to admit, was never one of the most honoured of the
Muses. She was in her origin, short of slaughter, the loudest expression
of the little civilization of men. The light of Athene over the head of
Achilles illuminates the birth of Greek Tragedy. But Comedy rolled in
shouting under the divine protection of the Son of the Wine-jar, as
Dionysus is made to proclaim himself by Aristophanes. Our second Charles
was the patron, of like benignity, of our Comedy of Manners, which began
similarly as a combative performance, under a licence to deride and
outrage the Puritan, and was here and there Bacchanalian beyond the
Aristophanic example: worse, inasmuch as a cynical licentiousness is more
abominable than frank filth. An eminent Frenchman judges from the quality
of some of the stuff dredged up for the laughter of men and women who sat
through an Athenian Comic play, that they could have had small delicacy
in other affairs when they had so little in their choice of
entertainment. Perhaps he does not make sufficient allowance for the
regulated licence of plain speaking proper to the festival of the god,
and claimed by the Comic poet as his inalienable right, or for the fact
that it was a festival in a season of licence, in a city accustomed to
give ear to the boldest utterance of both sides of a case. However that
may be, there can be no question that the men and women who sat through
the acting of Wycherley's Country Wife were past blushing. Our tenacity
of national impressions has caused the word theatre since then to prod
the Puritan nervous system like a satanic instrument; just as one has
known Anti-Papists, for whom Smithfield was redolent of a sinister smoke,
as though they had a later recollection of the place than the lowing
herds. Hereditary Puritanism, regarding the stage, is met, to this day,
in many families quite undistinguished by arrogant piety. It has subsided
altogether as a power in the profession of morality; but it is an error
to suppose it extinct, and unjust also to forget that it had once good
reason to hate, shun, and rebuke our public shows.

We shall find ourselves about where the Comic spirit would place us, if
we stand at middle distance between the inveterate opponents and the
drum-and-fife supporters of Comedy: 'Comme un point fixe fait remarquer
l'emportement des autres,' as Pascal says. And we