not so sensibly touched with them. For this reason, comedy is not transferred easily from one age or nation to another. A Frenchman or Englishman is not pleased with the Andria of Terence, or Clitia of Machiavel, where the fine lady, upon whom all the play turns, never once appears to the spectators, but is always kept behind the scenes, suitable to the reserved humour of the antient Greeks and modern Italians. A man of learning and reflection can make allowance for these peculiarities of manners; but a common audience can never divest themselves so far of their usual ideas and sentiments as to relish pictures which no way resemble them.
And here there occurs a reflection, which may, perhaps, be useful in examining the celebrated controversy concerning antient and modern learning; where we often find the one side excusing any seeming absurdity in the antients from the manners of the age, and the others refusing to admit this excuse, or at least, admitting it only as an apology for the author, not for the performance. In my opinion, the proper bounds in this subject have seldom been fixed between the contending parties. Where any innocent peculiarities of manners are represented, such as those abovementioned, they ought cer-tainly
