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The noble task of comedy is to produce and keep up in us this freedom of mind, just as the end of tragedy is to re-establish in us this freedom of mind by aesthetic ways, when it has been violently suspended by passion. Consequently it is necessary that in tragedy the poet, as if he made an experiment, should artificially suspend our freedom of mind, since tragedy shows its poetic virtue by re-establishing it; in comedy, on the other hand, care must be taken that things never reach this suspension of freedom.

It is for this reason that the tragic poet invariably treats his theme in a practical manner, and the comic poet in a theoretic manner, even when the former, as happened with Lessing in his “Nathan,” should have the curious fancy to select a theoretical, and the latter should have that of choosing a practical subject. A piece is constituted a tragedy or a comedy not by the sphere from which the theme is taken, but by the tribunal before which it is judged. A tragic poet ought never to indulge in tranquil reasoning, and ought always to gain the interest of the heart; but the comic poet ought to shun the pathetic and bring into play the understanding. The former displays his art by creating continual excitement, the latter by perpetually subduing his passion; and it is natural that the art in both cases should acquire magnitude and strength in proportion as the theme of one poet is abstract and that of the other pathetic in character. Accordingly, if tragedy sets out from a more exalted place, it must be allowed, on the other hand, that comedy aims at a more important end; and if this end could be actually attained it would make all tragedy not only unnecessary, but impossible. The aim that comedy has in view is the same as that of the highest destiny of man, and this consists in liberating himself from the influence of violent passions, and taking a calm and lucid survey of all that surrounds him, and also of his own being, and of seeing everywhere occurrence rather than fate or hazard, and ultimately rather smiling at the absurdities than shedding tears and feeling anger at sight of the wickedness of man.

It frequently happens in human life that facility of imagination, agreeable talents, a good-natured mirthfulness are taken for ornaments of the mind. The same fact is discerned in the case of poetical displays.

Now, public taste scarcely if ever soars above the sphere of the agreeable, and authors gifted with this sort of elegance of mind and style do not find it a difficult matter to usurp a glory which is or ought to be the reward of so much real labor. Nevertheless, an infallible text exists to enable us to discriminate a natural facility of manner from ideal gentleness, and qualities that consist in nothing more than natural virtue from genuine moral worth of character. This test is presented by trials such as those presented by difficulty and events offering great opportunities. Placed in positions of this kind, the genius whose essence is elegance is sure infallibly to fall into platitudes, and that virtue which only results from natural causes drops down to a material sphere. But a mind imbued with true and spiritual beauty is in cases of the kind we have supposed sure to be elevated to the highest sphere of character and of feeling. So long as Lucian merely furnishes absurdity, as in his “Wishes,” in the “Lapithae,” in “Jupiter Tragoedus,” etc., he is only a humorist, and gratifies us by his sportive humor; but he changes character in many passages in his “Nigrinus,” his “Timon,” and his “Alexander,” when his satire directs its shafts against moral depravity. Thus he begins in his “Nigrinus” his picture of the degraded corruption of Rome at that time in this way: “Wretch, why didst thou quit Greece, the sunlight, and that free and happy life? Why didst thou come here into this turmoil of splendid slavery, of service and festivals, of sycophants, flatterers, poisoners, orphan-robbers, and false friends?” It is on such occasions that the poet ought to show the lofty earnestness of soul which has to form the basis of all plays, if a poetical character is to be obtained by them. A serious intention may even be detected under the malicious jests with which Lucian and Aristophanes pursue Socrates. Their purpose is to avenge truth against sophistry, and to do combat for an ideal which is not always prominently put forward. There can be no doubt that Lucian has justified this character in his Diogenes and Demonax. Again, among modern writers, how grave and beautiful is the character depicted on all occasions by Cervantes in his Don Quixote! How splendid must have been the ideal that filled the mind of a poet who created a Tom Jones and a Sophonisba! How deeply and strongly our hearts are moved by the jests of Yorick when he pleases! I detect this seriousness also in our own Wieland: even the wanton sportiveness of his humor is elevated and impeded by the goodness of his heart; it has an influence even on his rhythm; nor does he ever lack elastic power, when it is his wish, to raise us up to the most elevated planes of beauty and of thought.