experience as a hypocrite has transformed into natural gestures, Tartuffe would be simply odious, because we should only think of what is meant and willed in his conduct. And so we see why action is essential in drama, but only accessory in comedy. In a comedy, we feel any other situation might equally well have been chosen for the purpose of introducing the character; he would still have been the same man though the situation were different. But we do not get this impression in a drama. Here characters and situations are welded together, or rather, events form part and parcel with the persons, so that were the drama to tell us a different story, even though the actors kept the same names, we should in reality be dealing with other persons.
To sum up, whether a character is good or bad is of little moment: granted he is unsociable, he is capable of becoming comic. We now see that the seriousness of the case is of no importance either: whether serious or trifling, it is still capable of making us laugh, provided that care be taken not to arouse our emotions. Unsociability in the performer and insensibility in the spectator—such, in a
