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A third variety in this species springs from confounding artfully the proper and the metaphorical sense of an expression. In this way, one would assign as a motive, what is discovered to be perfectly absurd, when but ever so little attended to; and yet, from the ordinary meaning of the words, hath a specious appearance on a single glance. Of this kind you have an instance in the subsequent lines,

While thus the lady talk'd, the knight
Turn'd th' outside of his eyes to white,
As men of inward light are wont
To turn their optics.in upon't. +

For whither can they turn their eyes more properly than to the light?

A fourth variety, much resembling the former, is when the argument or comparison (for all argument is a kind of comparison) is founded on the supposal of corporeal or personal attributes in what is strictly not susceptible of them, as in this,

But Hudibras gave him a twitch

As quick as lightning in the breech,
Just in the place where honour's lodg'd,
As wise philosophers have judg'd;
Because a kick in that place, more
Hurts honour, than deep wounds before. +

Can any

satisfactory?
However, the mention

Is demonstration itself more thing be hurt but where it is? of this as the sage deduction of philosophers, is no inconsiderable addition to the wit. Indeed, this particular circumstance belongs properly to the first species mentioned, in which high and low, great and little, are coupled. Another example, not unlike the preceding, you have in these words,

What makes morality a crime,

The most notorious of the time;
Morality, which both the saints
And wicked too cry out against?

+ Hudibras, Part iii. Canto 1.

Ibid. Part ii. Canto 2.

'Cause grace and virtue are within
Prohibited degrees of kin :
And therefore no true saint allows
They shall be suffer'd to espouse.t

When the two foregoing instances are compared together, we should say of the first, that it has more of simplicity and nature, and is therefore more pleasing; of the second, that it has more of ingenuity and conceit, and is consequently more surprising.

The fifth and only other variety I shall observe, is that which ariseth from a relation not in the things signified, but in the signs, of all relations, no doubt, the slightest. Identity here gives rise to puns and clinches: Resemblance to quibbles, cranks, and rhyms: Of these, I imagine, it is quite unnecessary to exhibit specimens. The wit here is so dependent on the sound, that it is commonly incapable of being transfused into another language, and as, among persons of taste and discernment, it is in less request than the other sorts above enumerated, those who abound in this, and never rise to any thing superior, are distinguished by the diminutive appellation of witlings.

Let it be remarked in general, that from one or more of the three last mentioned varieties, those plebeian tribes of witticism, the conundrums, the rebuses, the riddles, and some others, are lineally, though perhaps not all legitimately, descended. I shall only add, that I have not produced the forenamed varieties as an exact enumeration of all the subdivisions, of which the third species of wit is susceptible. It is capable, I acknowledge, of being almost infinitely diversified; and it is principally to its various exhibitions, that we apply the epithets sportive, spritely, ingenious, according as they recede more or less from those of the declaimer.

SECTION II.-Of Humour.

As wit is the painting, humour is the pathetic, in this

E

+ Hudibras, Part iii. Canto 1.

inferior sphere of eloquence. The nature and efficacy of humour may be thus unravelled. A just exhibition of any ardent or durable passion, excited by some adequate cause, instantly attacheth sympathy, the common tie of human souls, and thereby communicates the passion to the breast of the hearer. But when the emotion is either not violent or not durable, and the motive not any thing real, but imaginary, or at least quite disproportionate to the effect; or when the passion displays itself preposterously, so as rather to obstruct than to promote its aim; in these cases a natural representation, instead of fellow-feeling, creates amusement, and universally awakens contempt. The portrait in the former case we call pathetic, in the latter humorous. It was said that the emotion must be either not violent or not durable. This limitation is necessary, because a passion extreme in its degree, as well as lasting, cannot yield diversion to a well-disposed mind, but generally affects it with pity, not seldom with a mixture of horror and indignation. The sense of the ridiculous, though invariably the same, is in this case totally surmounted by a principle of our nature, much more powerful.

The passion which humour addresseth as its object, is, as hath been signified above, contempt. But it ought

It ought to be observed, that this term is also used to express any lively strictures of such specialities in temper and conduct, as have neither moment enough to interest sympathy, nor incongruity enough to excite contempt. In this case, humour not being addressed to passion, but to fancy, must be considered as a kind of moral painting, and differs from wit only in these two things; first, in that, character alone is the subject of the former, whereas all things whatever fall within the province of the latter; secondly, humour paints more simply by direct imitation, wit more variously by illustration and imagery. Of this kind of humour, merely graphical, Addison hath given us numberless examples in many of the characters he hath so finely drawn, and little incidents he hath so pleas antly related in his Tatlers and Spectators. I might remark of the word humour, as I did of the term wit, that we scarcely find in other languages a word exactly corresponding. The Latin facetia seems to come the nearest. Thus Cicero, "Haic generi orationis aspergentur etiam sales, qui in dicendo mirum quantum "valent: quorum duo genera sunt, unum facetiarum, alterum dicacitatis: utetur "utroque, sed altero in narrando aliquid venuste, altero in jaciendo mittendoque "ridiculo; cujus genera pluro sunt." Orator. 48. Here one would think, that the philosopher must have had in his eye the different provinces of wit and hu mour, calling the former dicacitas, and the latter facetia. It is plain, however, that, both by him and other Latin authors, these two words are often confounded. There appears indeed, to be more uniformity in the use that is made of the second term, than in the application of the first.

carefully to be noted, that every address, even every pertinent address to contempt, is not humorous. This passion is not less capable of being excited, by the severe and tragic, than by the merry and comic manner. The subject of humour is always character, but not every thing in character; its foibles generally, such as caprices, little extravagancies, weak anxieties, jealousies, childish fondness, pertness, vanity, and self-conceit. One finds the greatest scope for exercising this talent in telling familiar stories, or in acting any whimsical part in an assumed character. Such an one, we say, has the talent of humouring a tale, or any queer manner which he chooseth to exhibit. Thus we speak of the passions in tragedy, but of the humours in comedy; and even to express passion as appearing in the more trivial occurrences of life, we commonly use this term, as when we talk of good humour, ill humour, peevish or pleasant humour; hence it is that a capricious temper we call humoursome, the person possessed of it a humorist, and such facts or events as afford subject for the humours, we denominate comical.

Indeed, comedy is the proper province of humour. Wit is called in solely as an auxiliary humour predominates. The comic poet bears the same analogy to the author of the mock-heroic, that the tragic poet bears to the author of the epic. The epos recites, and advancing with a step majestic and sedate, engageth all the nobler powers of imagination, a sense of grandeur, of beauty, and of order; tragedy personates, and thus employing a more rapid and animated diction, seizeth directly upon the heart. The little epic, a narrative intended for amusement, and addressed to all the lighter powers of fancy, delights in the excursions of wit: the production of the comic muse being a representation, is circumscribed by narrower bounds, and is all life and activity throughout. Thus Buckingham says with the greatest justness of comedy,

Humour is all. Wit should be only brought

To turn agreeably some proper thought.

Essay on Poetry.

The pathetic and the facetious differ not only in subject and effect, as will appear upon the most superficial review of what hath been said, but also in the manner of imitation. In this the man of humour descends to a minuteness which the orator disdains. The former will often successfully run into downright mimicry, and exhibit peculiarities in voice, gesture, and pronunciation, which in the other would be intolerable. The reason of the difference is this: That we may divert, by exciting scorn and contempt, the individual must be exposed; that we may move, by interesting the more generous principles of humanity, the language and sentiments, not so much of the individual, as of human nature, must be displayed. So very different, or rather opposite, are these two in this respect, that there could not be a more effectual expedient for undoing the charm of the most affecting representation, than an attempt in the speaker to mimic the personal singularities of the man for whom he desires to interest us. On the other hand, in the humorous, where the end is diversion, even overacting, if moderate, is not improper.

It was observed already, that, though contempt be the only passion addressed by humour, yet this passion may with propriety and success be assailed by the severer eloquence, where there is not the smallest tincture of humour. This it will not be beside our purpose to specify, in order the more effectually to show the difference. Lord Bolingbroke, speaking of the state of these kingdoms from the time of the Restoration, has these words: "The two brothers, Charles and James, when in exile, "became infected with popery to such degrees as their "different characters admitted of. Charles had parts; "and his good understanding served as an antidote to "repel the poison. James, the simplest man of his time, "drank off the whole chalice. The poison met, in his composition, with all the fear, all the credulity, and "all the obstinacy of temper proper to increase its virulence, and to strengthen its effect.-Drunk with superstitious, and even enthusiastic zeal, he ran headlong into his own ruin, whilst he endeavoured to pre

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