This gives rise to a corresponding
style of comedy, the object of which is to detect the disguises of
self-love, and to make reprisals on these preposterous assumptions
of vanity, by marking the contrast between the real and the affected
character as severely as possible, and denying to those who would
impose on us for what they are not, even the merit which they have.
This is the comedy of artificial life, of wit and satire, such as we
see it in Congreve, Wycherley, Vanbrugh, &c. To this succeeds a
state of society from which the same sort of affectation and
pretence are banished by a greater knowledge of the world or by
their successful exposure on the stage; and which by neutralizing
the materials of comic character, both natural and artificial,
leaves no comedy at all--but the sentimental. Such is our modern
comedy. There is a period in the progress of manners anterior to
both these, in which the foibles and follies of individuals are of
nature's planting, not the growth of art or study; in which they are
therefore unconscious of them themselves, or care not who knows
them, if they can but have their whim out; and in which, as there is
no attempt at imposition, the spectators rather receive pleasure
from humouring the inclinations of the persons they laugh at, than
wish to give them pain by exposing their absurdity.
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