As earnestness, in the highest degree, is the essence of tragic representation; so is sport of the comic. The disposition to mirth is a forgetfulness of all gloomy considerations in the pleasant feeling of present happiness. We are then inclined to view every thing in a sportive light, and to allow nothing to disturb or ruffle our minds. The imperfections and the irregularities of men are no longer an object of dislike and compassion, but serve, by their strange inconsistencies, to entertain the understanding and to amuse the fancy. The comic poet must therefore carefully abstain from whatever is calculated to excite moral indignation at the conduct, or sympathy with the situations of his personages, because this would inevitably bring us back again into earnestness. He must paint their irregularities as springing out of the predominance of the animal part of their nature, and the incidents which befal them as merely ludicrous distresses, which will be attended with no fatal consequences. This is uniformly what takes place in what we call Comedy, in which, however, there is still a mixture of seriousness, as I shall show in the sequel. The oldest comedy of the Greeks was, however, entirely sportive, and in that respect formed the most complete contrast to their tragedy. Not only were the characters and situations of individuals worked up into a comic picture of real life, but the whole frame of society, the constitution, nature, and the gods, were all fantastically painted in the most ridiculous and laughable colours. When we have formed in this manner a pure idea of the tragic and comic, as exhibited to us in Grecian examples, we shall then be enabled to analyze the various corruptions of both, which the moderns have invented, to discriminate their incongruous additions, and to separate their several ingredients. In the history of poetry and the fine arts among the Greeks, their development was subject to an invariable law. Everything heterogeneous was first excluded, and then all homogeneous elements were combined, and each being perfected in itself, at last elevated into an independent and harmonious unity. Hence with them each species is confined within its natural boundaries, and the different styles distinctly marked. In beginning, therefore, with the history of the Grecian art and poetry, we are not merely observing the order of time, but also the order of ideas.