An Essay on Comedy and the Uses of the Comic Spirit. George Meredith

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СКАЧАТЬ Misanthrope was yet more frigidly received.  Molière thought it dead.  ‘I cannot improve on it, and assuredly never shall,’ he said.  It is one of the French titles to honour that this quintessential comedy of the opposition of Alceste and Célimène was ultimately understood and applauded.  In all countries the middle class presents the public which, fighting the world, and with a good footing in the fight, knows the world best.  It may be the most selfish, but that is a question leading us into sophistries.  Cultivated men and women, who do not skim the cream of life, and are attached to the duties, yet escape the harsher blows, make acute and balanced observers.  Molière 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.  Célimène 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 sentimental fiction?  Our women are taught to think so.  The Agnès of the École des Femmes should be a lesson for men.  The heroines of Comedy are like women of the world, not necessarily heartless from being clear-sighted: they seem so to the sentimentally-reared only for the reason that they use their wits, and are not wandering vessels crying for a captain or a pilot.  Comedy is an exhibition of their battle with men, and that of men with them: and as the two, however divergent, both look on one object, namely, Life, the gradual similarity of their impressions must bring them to some resemblance.  The Comic poet dares to show us men and women coming to this mutual likeness; he is for saying that when they draw together in social life their minds grow liker; just as the philosopher discerns the similarity of boy and girl, until the girl is marched away to the nursery.  Philosopher and Comic poet are of a cousinship in the eye they cast on life: and they are equally unpopular with our wilful English of the hazy region and the ideal that is not to be disturbed.

      Thus, for want of instruction in the Comic idea, we lose a large audience among our cultivated middle class that we should expect to support Comedy.  The sentimentalist is as averse as the Puritan and as the Bacchanalian.

      Our traditions are unfortunate.  The public taste is with the idle laughers, and still inclines to follow them.  It may be shown by an analysis of Wycherley’s Plain Dealer, a coarse prose adaption of the Misanthrope, stuffed with lumps of realism in a vulgarized theme to hit the mark of English appetite, that we have in it the keynote of the Comedy of our stage.  It is Molière travestied, with the hoof to his foot and hair on the pointed tip of his ear.  And how difficult it is for writers to disentangle themselves from bad traditions is noticeable when we find Goldsmith, who had grave command of the Comic in narrative, producing an elegant farce for a Comedy; and Fielding, who was a master of the Comic both in narrative and in dialogue, not even approaching to the presentable in farce.

      These bad traditions of Comedy affect us not only on the stage, but in our literature, and may be tracked into our social life.  They are the ground of the heavy moralizings by which we are outwearied, about Life as a Comedy, and Comedy as a jade, 4

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      1

      A lecture delivered at the London Institution, February 1st, 1877.

      2

      Realism in the writing is carried to such a pitch in THE OLD BACHELOR, that husband and wife use imbecile connubial epithets to one another.

      3

      Tallemant des Réaux, in his rough portrait of the Duke, shows the foundation of the character of Alceste.

      4

1

A lecture delivered at the London Institution, February 1st, 1877.

2

Realism in the writing is carried to such a pitch in THE OLD BACHELOR, that husband and wife use imbecile connubial epithets to one another.

3

Tallemant des Réaux, in his rough portrait of the Duke, shows the foundation of the character of Alceste.

4

See Tom Jones, book viii. chapter I, for Fielding’s opinion of our Comedy.  But he puts it simply; not as an exercise in the quasi-philosophical bathetic.

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