writings of the ancients. But perhaps I have less abhorrence than he professes for it; and that, not because I have had some little success on the stage this way, but rather as it contributes more to exquisite mirth and laughter than any other; and these are probably more wholesome physic for the mind, and conduce better to purge away spleen, melancholy, and ill affections, than is generally imagined. Nay, I will appeal to common observation, whether the same companies are not found more full of good-humour and benevolence, after they have been sweetened for two or three hours with entertainments of this kind, than when soured by a tragedy or a grave lecture.
But to illustrate all this by another science, in which, perhaps, we shall see the distinction more clearly and plainly, let us examine the works of a comic history painter, with those performances which the Italians call Caricatura, where we shall find the true excellence of the former to consist in the exactest copying of nature; insomuch that a judicious eye instantly rejects anything outre, any liberty which the painter hath taken with the features of that alma mater; whereas in the Caricatura we allow all licence – its aim is to exhibit monsters, not men; and all distortions and exaggerations whatever are within its proper province.
Now, what Caricatura is in painting, Burlesque is in writing; and in the same manner the comic writer and painter correlate to each other. And here I shall observe, that, as in the former the painter seems to have the advantage; so it is in the latter infinitely on the side of the writer; for the Monstrous is much easier to paint than describe, and the Ridiculous to describe than paint.
And though perhaps this latter species doth not in either science so strongly affect and agitate the muscles as the other; yet it will be owned, I believe, that a more rational and useful pleasure arises to us from it. He who should call the ingenious Hogarth a burlesque painter, would, in my opinion, do him very little honour; for sure it is much easier, much less the subject of admiration, to paint a man with a nose, or any other feature, of a preposterous size, or to expose him in some absurd or monstrous attitude, than to express the affections of men on canvas. It hath been thought a vast commendation of a painter to say his figures seem to breathe; but surely it is a much greater and nobler applause, that they appear to think.
But to return. The Ridiculous only, as I have before said, falls within my province in the present work. Nor will some explanation of this word be thought impertinent by the reader, if he considers how wonderfully it hath been mistaken, even by writers who have professed it: for to what but such a mistake can we attribute the many attempts to ridicule the blackest villanies, and, what is yet worse, the most dreadful calamities? What could exceed the absurdity of an author, who should write the comedy of Nero, with the merry incident of ripping up his mother's belly? or what would give a greater shock to humanity than an attempt to expose the miseries of poverty and distress to ridicule? And yet the reader will not want much learning to suggest such instances to himself.
Besides, it may seem remarkable, that Aristotle, who is so fond and free of definitions, hath not thought proper to define the Ridiculous. Indeed, where he tells us it is proper to comedy, he hath remarked that villany is not its object: but he hath not, as I remember, positively asserted what is. Nor doth the Abbe Bellegarde, who hath written a treatise on this subject, though he shows us many species of it, once trace it to its fountain.
The only source of the true Ridiculous (as it appears to me) is affectation. But though it arises from one spring only, when we consider the infinite streams into which this one branches, we shall presently cease to admire at the copious field it affords to an observer. Now, affectation proceeds from one of these two causes, vanity or hypocrisy: for as vanity puts us on affecting false characters, in order to purchase applause; so hypocrisy sets us on an endeavour to avoid censure, by concealing our vices under an appearance of their opposite virtues. And though these two causes are often confounded (for there is some difficulty in distinguishing them), yet, as they proceed from very different motives, so they are as clearly distinct in their operations: for indeed, the affectation which arises from vanity is nearer to truth than the other, as it hath not that violent repugnancy of nature to struggle with, which that of the hypocrite hath. It may be likewise noted, that affectation doth not imply an absolute negation of those qualities which are affected; and, therefore, though, when it proceeds from hypocrisy, it be nearly allied to deceit; yet when it comes from vanity only, it partakes of the nature of ostentation: for instance, the affectation of liberality in a vain man differs visibly from the same affectation in the avaricious; for though the vain man is not what he would appear, or hath not the virtue he affects, to the degree he would be thought to have it; yet it sits less awkwardly on him than on the avaricious man, who is the very reverse of what he would seem to be.
From the discovery of this affectation arises the Ridiculous, which always strikes the reader with surprize and pleasure; and that in a higher and stronger degree when the affectation arises from hypocrisy, than when from vanity; for to discover any one to be the exact reverse of what he affects, is more surprizing, and consequently more ridiculous, than to find him a little deficient in the quality he desires the reputation of. I might observe that our Ben Jonson, who of all men understood the Ridiculous the best, hath chiefly used the hypocritical affectation.
Now, from affectation only, the misfortunes and calamities of life, or the imperfections of nature, may become the objects of ridicule. Surely he hath a very ill-framed mind who can look on ugliness, infirmity, or poverty, as ridiculous in themselves: nor do I believe any man living, who meets a dirty fellow riding through the streets in a cart, is struck with an idea of the Ridiculous from it; but if he should see the same figure descend from his coach and six, or bolt from his chair with his hat under his arm, he would then begin to laugh, and with justice. In the same manner, were we to enter a poor house and behold a wretched family shivering with cold and languishing with hunger, it would not incline us to laughter (at least we must have very diabolical natures if it would); but should we discover there a grate, instead of coals, adorned with flowers, empty plate or china dishes on the sideboard, or any other affectation of riches and finery, either on their persons or in their furniture, we might then indeed be excused for ridiculing so fantastical an appearance. Much less are natural imperfections the object of derision; but when ugliness aims at the applause of beauty, or lameness endeavours to display agility, it is then that these unfortunate circumstances, which at first moved our compassion, tend only to raise our mirth.
The poet carries this very far: —
None are for being what they are in fault,
But for not being what they would be thought.
Where if the metre would suffer the word Ridiculous to close the first line, the thought would be rather more proper. Great vices are the proper objects of our detestation, smaller faults, of our pity; but affectation appears to me the only true source of the Ridiculous.
But perhaps it may be objected to me, that I have against my own rules introduced vices, and of a very black kind, into this work. To which I shall answer: first, that it is very difficult to pursue a series of human actions, and keep clear from them. Secondly, that the vices to be found here are rather the accidental consequences of some human frailty or foible, than causes habitually existing in the mind. Thirdly, that they are never set forth as the objects of ridicule, but detestation. Fourthly, that they are never the principal figure at that time on the scene: and, lastly, they never produce the intended evil.
Having thus distinguished Joseph Andrews from the productions of romance writers on the one hand and burlesque writers on the other, and given some few very short hints (for I intended no more) of this species of writing, which I have affirmed to be hitherto unattempted in our language; I shall leave to my good-natured reader to apply my piece to my observations, and will detain him no longer than with a word concerning the characters in this work.
And here I solemnly protest I have no intention to vilify or asperse any one; for though everything is copied from the book of nature, and scarce a character or action produced which I have not taken from my I own observations and experience; yet I have used the utmost care to obscure the persons by such different circumstances, degrees, and colours, that it will be impossible to guess at them with any degree of certainty; and if it ever happens otherwise, it is only where the failure characterized is so minute, that it is a foible only which the party himself may laugh at as well as any other.
As