But there is one argument in favour of sentimental comedy, which will keep it on the stage in spite of all that can be said against it. It is, of all others, the most easily written. Those abilities that can hammer out a novel are fully sufficient for the production of a sentimental comedy. It is only sufficient to raise the characters a little; to deck out the hero with a riband, or give the heroine a title; then to put all insipid dialogue, without character or humour, into their mouths, give them mighty good hearts, very fine clothes, furnish a new set of scenes, make a pathetic scene or two, with a sprinkling of tender melancholy conversation through the whole, and there is no doubt but all the ladies will cry and all the gentlemen applaud.
Humour at present seems to be departing from the stage, and it will soon happen that our comic players will have nothing left for it but a fine coat and a song. It depends upon the audience whether they will actually drive those poor merry creatures from the stage, or sit at a play as gloomy as at the Tabernacle. It is not easy to recover an art when once lost; and it will be but a just punishment, that when, by our being too fastidious, we have banished humour from the stage, we should ourselves be deprived of the art of laughing.
Mobile users, click here to return to the main page.
