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 sentimental fiction?  Our women are taught to think so.  The Agnes of the Ecole 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