hat 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], 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
think 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