When we examine the emotions produced in our minds by the view of human actions, we shall observe a division into the _serious_, and the _ludicrous_. I do not think it necessary to define or analyse feelings with which all are well acquainted. It is enough to observe that serious emotions are produced by the display of all the great passions which agitate the soul, and by all those actions, which are under the jurisdiction of the grand rules of religion and morality; and that ludicrous emotions are excited by the improprieties and inconsistencies of conduct or judgment in smaller matters; such as the effects of false taste, or trifling passions. When we now apply the words _tragic_ and _comic_, we shall at once perceive that the former can relate solely to such subjects as occasion _serious_, and the latter to such as occasion _ludicrous_ emotions. Now, although the practice of writers has frequently introduced ludicrous parts into the composition called a Tragedy, and serious parts into that called a Comedy, yet it has ever been understood that what constitutes the essential and invariable character of each is something which is expressed by the terms _tragic_ and _comic_, and comes under the head of _serious_ or _ludicrous_ emotions. Referring therefore to a future consideration, the propriety of introducing serious parts in a Comedy, I shall now lay down the character of Comedy as _a dramatic composition, exhibiting a ludicrous picture of human life and manners_. There are two sources of ludicrous emotions which it is proper here to distinguish. One of these arises from _character_, the other from _incident_. The first is attached and appropriated to the person, and makes a part, as it were, of his composition. The other is merely accidental, proceeding from awkward situations, odd and uncommon circumstances, and the like, which may happen indifferently to every person. If we compare these with regard to their dignity and utility, we shall find a further difference; since that proceeding from _character_ belongs to a very respectable part of knowledge, that of human manners; and has for its end the correction of foibles: whereas that proceeding from _incident_ is mean and trivial in its origin, and answers no other purpose than present mirth. ’Tis true, it is perfectly natural to be pleased with risible objects, even of the lowest kind, and a fastidious aversion to their exhibition may be accounted mere affected nicety; yet, since we rank Comedy among the higher and more refined species of composition, let us assign it the more honourable office of exhibiting and correcting the ludicrous part of _characters_; and leave to Bartholomew Fair the ingenious contrivances of facetious drollery, and handicraft merriment. The following sources may be pointed out from whence comic character is derived.