[ H ] 



and that the jefter plays the fool or the blunderer for his own 

 and our amufement. We are moved to laughter in precifely 

 the fame manner by the real blunders and groffierte of a country 

 bumpkin, and by the rcprefentation of a Ikilful ador, who ex- 

 hibits fuch a charader on theftage; in the firft feelings there is 

 no difference whatfoever, but this is the illufion of the drama ; 

 in the fequel, and on refledion, we defpife the abfurdity and 

 ignorance of the clown, and admire the iliill and addrcfs of the 

 player. So that the whole argument turns on the overlooking a 

 eircumftance very obvious to be fcen, namely, that affeded imper- 

 fedlion or incongruity excites only a tranfient and momentary 

 contempt, whereas a fimilar emotion af a permanent duration is 

 excited by that "which is real. In fhort, whether we laugh or 

 weep at the drama, our emotion is excited, not by the real, but 

 affumcd perfon and charader of the ador before us ; and the 

 affeded blunderer in company is, in that inftance, an ador ; 

 and on the fame principles we may explain the effeds of 

 irony. Where a perfon feems to poffefs an opinion, or afTert a 

 fad the very contrary of what he means to eftablifh ; this is a 

 fort of intelledual ading, or playing a feigned charader. We 

 diftinguifh in a moment between the real and efFedual afTcrtion 

 or opinion of the perfon. 



Secondly. Incongruity between the manner of fpeaking, ading 

 and thinking, and the civil or political fituation of the perfon : 

 a departure from the decorums of charader and propriety of 

 ading conformable to rank and ftation ; as if a grave perfonage, 

 a flatdman or philofopher, fhould be difcovcred riding on a hobby- 



horfe ; 



