But this rendering of the part is discomposing to the comic idea; and it forces a modification of method upon the actor of Charles Surface. It is in deference to the comic idea that when the screen falls Sheridan made Charles see the humor of the situation and only the humor of it. He is called upon to chaff Sir Peter and Lady Teazle and Joseph, one after the other. If the actor speaks these lines with due regard to the comic idea which created Sir Peter as a peevish old bachelor bridegroom and Lady Teazle as a frivolous woman of fashion, and if the actor of Sir Peter and the actress of Lady Teazle take the situation not only seriously but pathetically as they would in a twentieth century problem-play, then Charles’s speech is heartless and almost brutal. Now Charles is a character as sympathetic to the audience in his way as Lady Teazle is in hers. Charles is to be loved as Joseph is to be hated. And so the impersonator of Charles is compelled to modify his method, to transpose his lines and to recognize that the robust raillery natural to him and appropriate to the predicament must be toned down in deference to our more delicate susceptibilities. He laughs at Sir Peter first; and then he turns to Joseph, who is fair game and whom the spectators are glad to see held up to scorn. He says “you seem all to have been diverting yourselves here at hide and seek and I don’t see who is out of the secret.” With this he turns to Lady Teazle and asks, “Shall I beg your ladyship to inform me?” So saying he looks at her and perceiving that she is standing silent and ashamed, with downcast eyes, he makes her a bow of apology for his levity. Finally with another thrust at his brother, the unmasked hypocrite, he takes his departure airily, leaving them face to face. If the comic idea suffers from this contradiction of the intent of the comic dramatist, it must find what consolation it can in its sense of humor. IV