But the first to stress this idea with discriminating analysis was, quite appropriately, the first in his own satirical field:[43] “The only source of the true Ridiculous (as it appears to me) is affectation. * * * 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. * * * “From the discovery of this affectation arises the Ridiculous; * * * I might observe, that our Ben Jonson, who of all men understood the Ridiculous the best, hath chiefly used the hypocritical affectation.” He remarks that this is more amusing than vanity, from the sharper contrast with reality, and adds: “Now, from affectation only, the misfortunes and calamities of life, or the imperfections of nature, may become the objects of ridicule. * * * “The poet carries this very far: ‘None are for being what they are in fault, But for not being what they would be thought.’” He concludes: “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.” Fielding’s comment on Jonson is in turn applied to him by a modern critic:[44] “All Fielding’s evil characters, it may be remarked, are accomplished hypocrites; on pure vanity or silliness he spends very few of his shafts.” Taine[45] would find both easy to account for, on racial grounds: “The first-fruits of English society is hypocrisy. It ripens here under the double breath of religion and morality; we know their popularity and sway across the channel. * * * This vice is therefore English. Mr. Pecksniff is not found in France. * * * Since Voltaire, Tartuffe is impossible.” Landor[46] has Lucian say: “I have ridiculed the puppets of all features, all colours, all sizes, by which an impudent and audacious set of impostors have been gaining an easy livelihood these two thousand years. * * * “The falsehood that the tongue commits is slight in comparison with what is conceived by the heart, and executed by the whole man, throughout life.” Meredith’s portrait of The Comic Spirit is applicable to satire, for throughout the essay he gives to the term comic the connotation generally allowed to the term satiric: