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is at rest, neither moving nor speaking, we lose sight of that quality as much as of colour in the dark. Grace then is an agreeable attribute, inseparable from motion as opposed to rest, and as comprehending speech, looks, gestures, and locomotion.

As some motions are homely, the opposite to graceful, the next inquiry is, with what motions is this attribute connected ? No man appears graceful in a mask; and, therefore, laying aside the expressions of the countenance, the other motions may be genteel, may be elegant, but of themselves never are graceful. A motion adjusted in the most perfect mamer to answer its end, is elegant; but still somewhat more is required to complete our idea of grace, or gracefulness.

What this unknown more may be, is the nice point. One thing is clear from what is said, that this more must arise from the expression of the countenance: and from what expressions so naturally as from those which indicate mental qualities, such as sweetness, benevolence, elevation, dignity ? This promises to be a fair analysis; because of all objects mental qualities affect us the most; and the impression made by graceful appearance upon every spectator of taste, is too deep for any cause purely corporeal.

The next step is, to examine what are the mental qualities, that, in conjunction with elegance of motion, produce a graceful appearance. Sweetness, cheerfulness, affability, are not separately sufficient, nor even in conjunction. As it appears to me, dignity alone with elegant motion may produce a grace, ful appearance ; but still more graceful with the aid

; of other qualities, those especially that are the most. exalted.

But this is not all. The most exalted virtues may be the lot of a person whose countenance has little expression : such a person cannot be graceful. Therefore, to produce this appearance, we must add another circumstance, namely, an expressive countenance, displaying to every spectator of taste, with life and energy, every thing that passes in the mind.

Collecting these circumstances together, grace may be defined, that agreeable appearance which arises from elegance of motion, and from a countenance expressive of dignity. Expressions of other mental qualities are not essential to that appearance, but they heighten it greatly.

of all external objects, a graceful person is the most agreeable.

Dancing affords great opportunity for displaying grace, and harranguing still more.

I conclude with the following reflection, That in vain will a person attempt to be graceful, who is deficient in amiable qualities. A man, it is true, may form an idea of qualities he is destitute of; and, by means of that idea, may endeavour to ex.. press those qualities by looks and gestures: but such studied expression will be too faint and obscure to be graceful.

CHAPTER XII.

Ridicule.

TO define ridicule has puzzled and vexed every critic. The definition given by Aristotle is obscure and imperfect.* Cicero handles it at great length; but without giving any satisfaction: he wanders in the dark, and misses the distinction between risible and ridiculous. Quintilian is sensible of the distinction, but has not attempted to explain it. Luckily this subject lies no longer in obscurity: a risible object produceth an emotion of laughter merely a ridiculous object is improper as well as risible; and produceth a mixed emotion, which is vented by a laugh of derision or scorn.||

Having, therefore, happily unravelled the knotty part, I proceed to other particulars.

Burlesque, though a great engine of ridicule, is not confined to that subject; for it is clearly distinguishable into burlesque that excites laughter mereIy, and burlesque that provokes derision or ridicule. A grave subject in which there is no impropriety, may be brought down by a certain colouring so as to be risible; which is the case of Virgil Travestie; and also the case of the Secchia Rapita ** the authors laugh first, in order to make their readers laugh. The Lutrin is a burlesque poem of the other sort, laying hold of a low and

* Poet. cap. v.

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Ideoque anceps ejus rei ratio est, quod a derisu non procul abest risus; lib. VI. cap. iii. ect. 1.

§ See Chapter VII.

¶ Scarron.

Sée Chapter X.
** Tassoni,

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trifling incident, to expose the luxury, indolence, and contentious spirit of a set of monks. Boileau, the author, gives a ridiculous air to the subject, by dressing it in the heroic style, and affecting to consider it as of the utmost dignity and importance. In a composition of this kind, no image professedly ludicrous ought to find quarter, because such images destroy the contrast ; and, accordingly, the author shows always the grave face, and never once betrays a smile.

Though the burlesque that aims at ridicule, produces its effect by elevating the style far above the subject, yet it has limits beyond which the elevation ought not to be carried: the poet, consulting the imagination of his readers, ought to confine himself to such images as are lively, and readily apprehended : a strained elevation, soaring above an ordinary reach of fancy, makes not a pleasant impression: the reader, fatigued with being always upon the stretch, is soon disgusted; and if he persevere, becomes thoughtless and indifferent. Further, a fiction gives no pleasure unless it be painted in colours so lively as to produce some perception of reality; which never can be done effectually, where the images are formed with labour or diftculty. For these reasons, I cannot avoid condemning the Batrachomuomachia, said to be the composition of Homer: it is beyond the power of imagination to form a clear and lively image of frogs and mice, acting with the dignity of the highest of our species ; nor can we form a conception of the reality of such an action, in any manner so distinct as to interest our affections even in the slightest degree.

The Rape of the Lock is of a character clearly distinguishable from those now mentioned: it is VOL. I.

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not properly a burlesque performance, but what may rather be termed an heroi-comical poem : it treats a gay and familiar subject with pleasantry, and with a moderate degree of dignity ; the author puts not on a mask like Boileau, nor professes to make us laugh like Tassoni. The Rape of the Lock is a genteel species of writing, less strained than those mentioned: and is pleasant or ludicrous without having ridicule for its chief aim ; giving way, however, to ridicule where it arises naturally from a particular character, such as that of Sir Plume. Addison's Spectator upon the exercise of the fan* is extremely gay and ludicrous, resembling in its subject the Rape of the Lock

Humour belongs to the present chapter, because it is connected with ridicule. Congreve defines humour to be "a singular and unavoidable man

ner of doing or saying any thing, peculiar and “ natural to one man only, by which his speech “ and actions are distinguished from those of other " men.” Were this definition just, a majestic and commanding air, which is a singular property, is humour; as also a natural flow of correct and commanding eloquence, which is no less singular. Nothing just or proper is denominated humour ; nor any singularity of character, words, or actions, that is valued or respected. When we attend to the character of a humourist, we find that it arises from circumstances both risible and improper, and therefore that it lessens the man in our esteem, and makes him in some measure ridiculous.

Humour in writing is very different from humour in character.

When an author insists upon ludicrous subjects with a professed purpose to make his readers laugh, he may be styled a ludi

No. 102

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