ed observers. Moliere is their poet.

Of this class in England, a large body, neither Puritan nor Bacchanalian,
have a sentimental objection to face the study of the actual world. They
take up disdain of it, when its truths appear humiliating: when the facts
are not immediately forced on them, they take up the pride of
incredulity. They live in a hazy atmosphere that they suppose an ideal
one. Humorous writing they will endure, perhaps approve, if it mingles
with pathos to shake and elevate the feelings. They approve of Satire,
because, like the beak of the vulture, it smells of carrion, which they
are not. But of Comedy they have a shivering dread, for Comedy enfolds
them with the wretched host of the world, huddles them with us all in an
ignoble assimilation, and cannot be used by any exalted variety as a
scourge and a broom. Nay, to be an exalted variety is to come under the
calm curious eye of the Comic spirit, and be probed for what you are. Men
are seen among them, and very many cultivated women. You may distinguish
them by a favourite phrase: 'Surely we are not so bad!' and the remark:
'If that is human nature, save us from it!' as if it could be done: but
in the peculiar Paradise of the wilful people who will not see, the
exclamation assumes the saving grace.

Yet should you ask them whether they dislike sound sense, they vow they
do not. And question cultivated women whether it pleases them to be
shown moving on an intellectual level with men, they will answer that it
does; numbers of them claim the situation. Now, Comedy is the fountain
of sound sense; not the less perfectly sound on account of the sparkle:
and Comedy lifts women to a station offering them free play for their
wit, as they usually show it, when they have it, on the side of sound
sense. The higher the Comedy, the more prominent the part they enjoy in
it. Dorine in the Tartuffe is common-sense incarnate, though palpably a
waiting-maid. Celimene is undisputed mistress of the same attribute in
the Misanthrope; wiser as a woman than Alceste as man. In Congreve's Way
of the World, Millamant overshadows Mirabel, the sprightliest male figure
of English comedy.

But those two ravishing women, so copious and so choice of speech, who
fence with men and pass their guard, are heartless! Is it not preferable
to be the pretty idiot, the passive beauty, the adorable bundle of
caprices, very feminine, very sympathetic, of romantic and sentiment