Herein, as I believe, consists the difference between the inventive and the descriptive genius. By the inventive genius I mean the creator of agreeable facts and incidents; by the descriptive, the delineator of characters, manners, and passions. Imitation calls us to this; we are in some cases almost forced to it, and it is comparatively easy. More observe the characters of men than the order of things: to the one we are formed by Nature, and by that sympathy from which we are so strongly led to take a part in the passions and manners of our fellow-men; the other is, as it were, foreign and extrinsical. Neither, indeed, can anything be done, even in this, without invention; but it is obvious that this invention is of a kind altogether different from the former. However, though the more sublime genius and the greatest art are required for the former, yet the latter, as it is more common and more easy, so it is more useful, and administers more directly to the great business of life. If the drama requires such a combination of talents, the most common of which is very rarely to be found and difficult to be exerted, it is not surprising, at a time when almost all kinds of poetry are cultivated with little success, to find that we have done no great matters in this. Many causes may be assigned for our present weakness in that oldest and most excellent branch of philosophy, poetical learning, and particularly in what regards the theatre. I shall here only consider what appears to me to be one of these causes: I mean the wrong notion of the art itself, which begins to grow fashionable, especially among people of an elegant turn of mind with a weak understanding; and these are they that form the great body of the idle part of every polite and civilized nation. The prevailing system of that class of mankind is indolence. This gives them an aversion to all strong movements. It infuses a delicacy of sentiment, which, when it is real, and accompanied with a justness of thought, is an amiable quality, and favorable to the fine arts; but when it comes to make the whole of the character, it injures things more excellent than those which it improves, and degenerates into a false refinement, which diffuses a languor and breathes a frivolous air over everything which it can influence.... Having differed in my opinion about dramatic composition, and particularly in regard to comedy, with a gentleman for whose character and talents I have a very high respect, I thought myself obliged, on account of that difference, to a new and more exact examination of the grounds upon which I had formed my opinions. I thought it would be impossible to come to any clear and definite idea on this subject, without remounting to the natural passions or dispositions of men, which first gave rise to this species of writing; for from these alone its nature, its limits, and its true character can be determined.