Lessing and The Virtue of Comedy

Lessing and "The Corrective Virtue in Comedy" Author(s): Edward V.
Brewer Source: The Journal of English and Germanic Philology, Vol. 26, No. 1 (Jan., 1927), pp. 1-23 Published by: University of Illinois Press Stable URL: http://www.jstor.org/stable/27703007 . Accessed: 15/09/2013 15:10
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LESSING AND "THE CORRECTIVE VIRTUE IN COMEDY"

A footnote in James Sully's chapter on The Ultimate Value to "Lessing's and Limitations plea of Laughter1 calls attention on in the Hamburgische behalf of a corrective Dramaturgie, as perhaps being somewhat indebted "to in comedy" virtue and the other English writers." the reading of Shaftesbury interest in To anyone at all conversant with the continental aware and of Characteristics Lessing's familiarity Shaftesbury's in the field of aesthetics, the plausibility with English writings of and provocative of such a suggestion is at once arresting an at The of least if possibility interesting parallel, thought. not an actual influence, would seem' to justify an attempt to in detail to what extent these writings have ascertain more common in with view didactic of comedy. anything Lessing's In a recent addition to the material available for what Mr. some day be released as "Sir Austin Morley hoped would occurs The Pilgrim's FeverePs volume, unpublished Serif2 the following: "If you are sometimes in doubt as to the truth it borders on the ridiculous."3 of a thing, see whether here calls to mind, Mr. Meredith though perhaps unwit * the centered around one of which great controversy tingly, obiter dicta be made the that ridicule Shaftesbury's proposing test of truth. Although the proposition was much more heatedly as it was in the 18th Century, discussed associated intimately of many with the doctrine of deism, echoes of the are found even down to the present time as the argumentation above citation bears witness. The history of the English phase of the question has been traced by James Sully.4 It is sufiicient to note the inception for the purposes of the present discussion of the idea in the 18th Century moralists, Shaftes especially on and its of of and the the value Home, bury bearing question a as names corrective most medium. The comedy frequently
1 2 James Sully, John Morley, 3E. V. Brewer, no. 3 on Laughter, An Essay London, 1902, p. 415. in Literature, Studies London, 1897, p. 71. of Meredith," The Yale "unpublished Aphorisms Cornhill Magazine, (1877), pp. 580-95.
in the minds
Review,
XIV
(1925), p. 621. * "Ridicule and Truth,"
2 associated with
Brewer
are those of Shaftesbury, Home, the discussion Brown. and the first two were the Warburton, Since, however, most and with influential advocates respect to pronounced on the continent, in Germany their influence and elsewhere we shall confine our attention to them. In so doing we purposely of the idea since the affirmation of this neglect the opponents so-called "test of truth" bears directly upon the function of in comedy. ridicule I. In the Essay on Enthusiasm the had advocated Shaftesbury use of ridicule as a means of safeguarding the interests of the body politic, as well as those of the established religion, against the extravagancies that of the visionary. The assumption ridicule was an honourable for corrective weapon purposes led Shaftesbury with characteristic cases, naturally its to In an to extend in general.5 truth optimism application on Freedom Wit and states the he Humour the of Essay principle as follows: "Truth, 'tis supposed, may bear all lights ;and one by which things lights, or natural mediums, in order to a thorough recognition, is ridicule manner we or is of whatever that which discern itself, proof by liable to just raillery in any subject."6 no end of to cause Shaftesbury This statement was destined a was which It controversy. opened up question argued pro and at to of much that both home and the exclusion con, abroad, was more useful and worthwhile in the teachings of this great was wont to call in 18th letters of what he exponent Century His the decorum of things."7 "the vemtstum, the honestum, no use in favor the of of ridicule recommendation assumed, of those principle are to be viewed, a broader connotation in the course of the discussion doubt, at first intended, and was made to imply that than Shaftesbury such proof. every aspect of truth itself be forced to undergo In the same essay he cautions against so wide an application. "A man," he says, "must be soundly ridiculous who, with all the wit imaginable, would go about to ridicule wisdom, or laugh
5 Cf. J. M. Robertson, London, 1900, vol. I, p. XXII. ? Ibid., I, p. 44. 7 Ibid., p. 92. Introduction to Shaftesbury's Characteristics,
in such
Lessing
and "The Corrective Virtue
in Comedy11
at honesty, or good manners."8 The original sense of the a for a rationalistic seems substitution not to passage profess a means whereby to indicate to rather but truth, approach those false masks, which in the course of time, due to the force of over the convention and changing fashion, spread themselves re and their trae character face of truth,9 may be detected vealed* "For nothing," he concludes, "is ridiculous except what is deformed; nor is anything proof against raillery except what It is this phase of Shaftesbury's is handsome and just."10 bears which directly upon the question of the "correc proposal To search out and ?nd that which is in comedy/' tive virtue of presupposes developed susceptible highly "just raillery" for all deviations from the norm, for what powers perceptive Jean Paul, apropos of humor, was wont to call "die krumme Linie." Some may seek to correct such eccentricities by serious to be should "allowed points out, appeal; others, Shaftesbury and virtue wisdom and recommend ridicule (if possibly folly, I know not why and mirth. they can) in a way of pleasantry of them poets, or such as write chiefly for the entertainment selves and others, may not be allowed II. on to Shaftesbury's views on comedy, we Before passing the of of ridicule and function shall examine Home's conception see what its relation may be to that of the former. The Elements one in 1762, its first German translation appeared of Criticism Criticism It out that the Elements been later. has year of pointed to Hutcheson and but considerable owed little to Shaftesbury, does not concern us here except as Burke.12 This, however, we may claim originality of suggestion with regard to Lessing's to Shaftesbury or Home. indebtedness In the chapter on Emotion and Passion we are sensible at once of a different than that which attitude toward ridicule of the animated It is reminiscent "sudden glory'' Shaftesbury.
Shaftesbury, Ibid., I, p. 58. 10 Ibid., p. 85. 11 Ibid., p. 89. 12 Wm. Neumann, 1894, p. 12 ff. 9 8 Cf. op. cit., I, p. 86.
this privilege."11
Die
Bedeutung
Home's
f?r die ?sthetik,
Diss.
Halle,
Brewer
of Hobbes with regard to the ludicrous in general.13 hypothesis "which chiefly arises from pride, a says Home, "Ridicule," at A people, it is selfish passion, is best but a gross pleasure. must out have emerged of barbarity before they can have true, a taste for ridicule. But it is too rough an entertainment for are those who is banished highly polished and refined. Ridicule and is losing ground Home, daily in England."14 however, does not utterly discredit ridicule as the above passage seem to indicate. In his analysis of Risible Objects he would between the terms risible and ridiculous. carefully distinguishes he is risible but what appears slight or trifling. finds, Nothing, as to be seriously "For man is so constituted affected with to his own interest or that of that is of importance everything France, with respect to the works both of nature others. Secondly, and of art, nothing is risible but what deviates from the common nature of the subject: it must be some particular out of rule, some remarkable defect or excess, a very long visage, for ex one. or a short Hence very ample, nothing just, proper, decent, or grand is risible."15 beautiful, proportioned It will be recalled that these are practically the terms used in indicating what was "proof against raillery." Shaftesbury But raillery, although in place frequently used by Shaftesbury of wit and humour, usually connotes when employed advisedly by him, a mild form of ridicule, the method of which is indirect of the so-called Socratic irony. in the manner On the other as that which is contrary to hand, Home defines the ridiculous Such "an impropriety that thus moves not only propriety. contempt but laughter is distinguished by the epithet ridiculous; and a laugh of derision or scorn is the punishment provided for it by nature."16 he concludes Hence "a ridiculous object is both mirthful and contemptible."17 As a means ridicule, subject
u
of further devotes
Home
to an analysis
the nature and function of illustrating the final pages of his discussion of the of the "celebrated whether question
Press, 1904, part 1, chap. 6, p. 34. 3 vol. of Criticism, Edinburgh,
Univ. Hobbes, Leviathan, Cambridge 14 Elements Henry Home, (Lord Kames) 1762,1, p. 138. 15 Home, op. cit., I, p. 339. M Ibid., II, p. 16. 17 Ibid., I, p. 341.
Lessing
and uThe Corrective Virtue in Comedy11
ridicule be or be not a 'test of truth.' "18 At the outset he makes it clear that ridicule is not a substitute for reasoning in at the but rather a truth of any given proposition, arriving means "for distinguishing from ridiculous those that objects
are not so."
But it must not be inferred from what has been said that Home was impressed solely by the corrective aspect of ridicule. The value of its mirth-provoking apart from any qualities, ulterior motive, was more strongly emphasized than by Shaftes bury. In the chapter on Congruity and Propriety he was careful to note the two-fold nature of the service performed by ridicule "for the good of mankind." he finds it "productive Objectively and laughter, excellent recreation of mirth in an interval from as business"; subjectively, however, tending to put one on his to appear guard in time coming through fear of being made It is the combination ridiculous.19 of these two aspects of the ridiculous which furnishes suitable material for comedy. A comparison of the views of Shaftesbury with those of Home as to the function of ridicule reveals practical agreement. In regard to the specific nature of ridicule itself, however, we find their ideas more at variance. Where Shaftesbury is content to find the essence of the ridiculous in a perception of a de finds its true nature in the mixed emotions formity, Home an interpre induced by the perception of risible improprieties, savours of Mark Akenside's tation which discussion20 of the same subject almost two decades before the appearance of the Elements Criticism. Thus both and Home Akenside of empha size the subjective aspect of the ridiculous more than Shaftes was focused almost exclusively on the bury, whose attention our of sense to which rise of the ridiculous. objects give qualities
? 19 Ibid., H, H, p. 55. p. 19-20. Poetical Pleasures Works of the Poets), (Aldine Edition London, was published It in 1744. of the Imagination for the author, both at home and notoriety
Ibid., ?0 Mark 1857, pp. immediately abroad,
Akenside, 77-81. The
considerable gained which Warburton took to a fancied uncom by reason o? the exception to him in Akenside's allusion note to the passage in the 3rd book of plimentary on "Ridicule" the poem dealing with ridicule. Home's and this note chapter in common both as to thought and language. have much The first complete German translation of the work appeared in 1757.
Brewer
III. in particular. Home has little to say about comedy Aside from a few casual remarks as to the difficult nature of the task in composing a the writer of "genteel comedy" confronting a a to not suitable and character dialogue passion,21 and an on our to ridicule in the comedy of sensitiveness emphasis the most feature of this view of characteristic is its didactic This is, however, not restricted comedy quality. to him alone. "A by comedy poem," he says, "whether dra or epic?conveys matic moral instruction with a perspicuity that is not exceeded by the most accurate reasoning; and makes a deeper impression than any moral discourse can do."23 "It not only improves the heart, but instructs the head by the moral it contains."24 However, this emphasis on the didactic quality of comedy did not cause him to lose sight of the fact that manners,22 comedy "pretends only to amuse, without totally occupying
the mind."25
on the other hand, we have a In the case of Shaftesbury, on the development comment of of Greek body own which reveals attitude his with comedy26 quite clearly to are as the nature of the conclusions comedy. regard Briefly follows: Aristotle's sketch of the rise of the Greek drama con firms his view that the poet more easily assumes the sublime rather than the facetious manner. Comedy, being the more considerable The comic poets before Aris difficult, is of later development. in the of work of failed to exhibit in totle, spite Aristophanes, their works "truth of characters, of order and simple beauty imitation of nature."27 were of "admirable Their productions use to explode the false sublime of early poets;" in short, "every thing which might be imposing, by a false gravity or solemnity, was forced to endure the trial of this touchstone."28 Comic is in the nature genius is a kind of caustic29 whose application
3 21 Home, Ibid., Ill, op. cit., II, Chap. XVI, p. p. 236. Chap. XXII, 152.
Ibid., Ill, Chap. XXII, pp. 221-2. "Ibid., Ill, Chap. XXII, p. 224. 25 Ibid., II, Chap. XXII, p. 252. 25 to an Author, <??.?7., I, Advice Shaftesbury, 27 7W&, I, p. 160. 28 Ibid., I, p. 161. 29 Jo??., I, p. 162.
pp.
158-70.
Lessing
and uThe Corrective Virtue in Comedy"
of things necessary for corrective and healing purposes. To be sure it is susceptible of abuse, but the "obscene buffooning manner" will be removed as the taste of a people grows. Comedy will reflect this growth. The history of Comedy both in Greece and Home shows this. Marcus Aurelius confirms this view of the corrective function of comedy: "And after Tragedy the Old Comedy was brought out, using the freedom of a teacher, us by its plain speech against pride."30 and usefully warning But the "comic or derisory manner" must act indirectly for the greatest effect, "the censuring or reproving part" must be in "the most and gentle way" for this is the true concealed imitation of nature.31 Thus the most successful criticism is that which borders on the manner of the earliest Greek Comedy, and "the most effectual and entertaining method of exposing reason false and ill that of the comic folly, pedantry, writing" wit.32 It prevents us from being grossly imposed upon.
IV.
Shaftesbury's proposal for a "test of truth" was as ardently in Germany33 as in England. debated In fact, the discussion there overshadowed in importance for a time the real signifi cance of his teachings and, to some extent, was instrumental in discrediting him. Even Herder in his approach to a discussion in the A drastea associates of Shaftesbury this question with his for of to a larger identification name, undoubtedly purposes notebook shows him interested group.34 Lessing's sufficiently in the subject to record a recent defence of Shaftesbury against the attack of Brown.35 His actual introduction to the subject, earlier than the item however, must have been considerably
30 ? Ibid., I, Note, p. 165. Ibid., I, pp. 168-9. 32 Ibid., I, p. 169. 33 Herbert Einfluss auf Chr. M. Wieland, Grudzinski, Stutt Shaftesburys zur Heft. 34); cf. also gart, 1913, p. 88 (Breslauer Beitr?ge Literaturgeschichte, on Comment Bouterwek's oft besprochene in his Lehre" "Shaftesbury's Erster Theil, Aesthetik, Leipzig, 1806, p. 177. 34 "Ernst nahen wir dem Schriftsteller, dem man Schuld gibt, dass er oder gar Spott zum Pr?fstein Scherz und Witz der Wahrheit habe." gemacht Cited und das Deutsche by Weiser, Shaftesbury Geistesleben, 1916, Leipzig p. 117. 35 S?mmtliche Lessing, Schriften, Lachmann-Muncker, XV, p. 285. Cited as Werke. hereafter
Brewer
in the Kolektaneen36 would seem to indicate, for a letter from some 175537 discussed the question in December, Mendelssohn a what at length and asked for Lessing's which request opinion; seems to have Some years later Wieland ignored. Lessing in the Teutscher Merkur.zz touched upon the same question In a posthumous sketch39 for a criticism of Wieland's article, summed up his estimation of "the test of Lessing trenchantly and dismissed it as a sort of Wortgr?belei truth" proposition in philosophical On the other hand, the value of conjecture.40 ridicule as a corrective force in society and its didactic purpose are clearly stressed by Lessing, not only in the in Comedy but elsewhere. It is before pro well, however, Dramaturgie, to note in certain distinctions Lessing's ceeding, terminology. the occasions distinction between for lachen and Lessing's verlachen is similar to that made by Home between the laughter which accompanies the risible and the ridiculous. In the course of his discussion of Rousseau's strictures on comedy as set forth in the Lettre ? d'Alembert he says: "Aber lachen und Wir k?nnen ?ber einen verlachen ist sehr weit auseinander. seiner lachen, ihn ohne Menschen lachen, bey Gelegenheit zu verlachen."41 the That verlachen implies im geringsten associated with ridicule, is laughter of contempt which Home seen from the subsequent out where discussion, Lessing points a contemptible in no way makes the Misanthrope that Moli?re is careful to exhibit him in situations which, while our from the respect we laughter, detract nothing provoking to In other words, have for his true character. it is possible figure, but him.42 That which necessarily laugh at, without ridiculing das L?cherliche constitutes for Lessing is the result of incon It is the Aristotelian view of deformity gruity and contrast. as the essence of the ridiculous, to which has been added the
first entries in the Kolektaneen of 1768, date from the summer cf. also Lessing, Werke, note, p. 125. XV, 37 Lessing, Werke, p. 29. XIX, 38 Teutscher Merkur, p. 82. 1776,1, 39 Lessing, Werke, p. 293-301. XVI, 40 Weiser to Lessing's {op. cit., p. 148) points scruples as to the efficacy of the test in the case of the "Einf?ltigen," and the "alte the "Bl?dsinnigen", M?tterlein." 41 Lessing, Werke, IX, p. 302. a Cf. Harold H?ffding, Outlines of Psychology, 1896, London, Macmillan, p. 295 and note. 38 The
Lessing element
and uThe Corrective Virtue
in Comedy11
an of contrast between and imperfection, perfection idea which, according to his own admission, he borrowed from Moses Mendelssohn.43 The elements of incongruity and con trast which make up Lessing's of das wahre L?cher conception as are a in embodied nature of such liche, particularly comedy, as not to arouse those emotions which find expression in the such laughter, he concludes, is reserved laughter of derision; for that which is verlachenswert. It is the latter term that more use of the term ridicule. to Home's accurately corresponds In the second W?ldchen, to the apropos of Klotz' objection introduction of laughter in the epic, we find Herder making a similar distinction between l?cherlich and belachenswert: "Diesen hat Hr. Klotz ob ich nicht beobachtet: Hauptunterschied lache, oder mich ?ber ein Lachen ?rgere; freudig oder h?nisch ich etwas l?cherlich oder belachenswerth f?hle? lache,?ob alles ist ihm einerlei.44 The juxtaposition of the terms belachens in an earlier passage45 werth, unw?rdig, implies unanst?ndig on his part that that, which the assumption is belachenswert is derived from an act of impropriety. This, it will be recalled, is in agreement with Home's definition of the term ridiculous.46 Herder here seems to make belachen stand for what Lessing as verlachen, an extension of meaning which appears designates to the accepted usage of the time.47 However be, the important thing to note is that Lessing and like Home, to distinguish various kinds of Herder, attempted Since the twenty-eighth number of the Dramaturgie laughter. that may
43 ed. by W. G. Howard, DC, p. 139; cf. also Laoko?n Lessing, Werke, H. Holt & Co., 1910, note p. 407. 44 S?mmtliche Herder, p. 225. Werke, Berlin, Suphan, 1878, HI, ? Ibid., m, p. 220. 45Cf. Note 17. The whole in Herder's is however, argument criticism, reminiscent of Home's with of ludicrous reasoning regard to the introduction Cf. the similarity in terminology is not surprising. images in an epic, hence op. cit., p. 127. Neumann, 47 Cf. Mit Schadenfreude ?ber jemanden 1808, auslachen: Adelung, Wien, mit Spott und Verachtung verlachen lachen; dagegen aber bloss andeutet, dass man ?ber etwas als eine Adelung verlachen distinction auslachen: gutm?tiges cites and the above interpolates more precise. Lachen, Belachen. verbunden l?cherliche Lessing in order ist, belachen lacht. Sache in defining the to make
to be counter
from passage (cf. Note 41) the phrase auch ihn belachen Cf. nicht also Kant's ein Auslachen 10, 128. usage mit as
cited
Ein
Verachtung,
under by Grimm ein sondern
Kant,
10
Brewer
of the Kritische the appearance antedates cannot be said to have passed Herder
W?lder by two years, on to this distinction
Lessing. that most of us are sensible of Thus the slight distinction ridiculous compared of the adjective in the milder connotation with the force of the verb to ridicule may be said to sufficiently it can If the ridiculous is so understood, cover the matter.48 for the purposes of this paper be allowed to stand for Lessing's use of l?cherlich.** to the is sensible of a deeper significance Lessing, however, of ridicule than that of merely arousing our laughter, or not it be tinctured with a feeling of contempt. In to the second edition of Lessing's translation of the preface "Das wahre ist he L?cherliche Diderot's says: nicht, plays, was am lautesten und Ungereimtheiten sollen lachen macht; In other in Bewegung setzen."50 nicht bloss unsere Lungen words a mental stimulus also is, or should be, found in the truly function whether to that comedy Lessing has in which is essential ridiculous, mind for him who demands more from comedy "als den Bauch lachen but who likewise "mit seinem Verst?nde ersch?ttern", of this To create such a comedy will."51 capable arousing a he the mind" serious of was, felt, undertaking. "laughter in a letter to his brother written while busy with A passage to this view: furnishes an interesting comment the Dramaturgie so lachen zu machen, dass sie nicht zugleich "Um die Zuschauer ?ber uns lachen, muss man auf seiner Studierstube lange sehr is only gewesen here, of course, seyn."52 Lessing what from noted with critics Aristotle down have emphasizing so to the what Meredith comic It is genre. regard aptly George in the words of one of the greatest writers of characterizes une rire "C'est faire de celle comedy: que ?trange entreprise ernsthaft
48 He says: Sully suggests a similar "So far as we know distinction Shaftesbury but fails his to note Home's followers took and terminology. no pains to
these varieties of laughter." Cornhill Magazine, distinguish (1877), p. 587. 49 Modern has tended to wipe out such and English usage both in German the New Oxford and the the ludicrous defines both distinctions; Dictionary as suited to occasion ridiculous l?cherlich derisive laughter, and Grimm defines as: anlass zum lachen oder verlachen gebend. 60 Lessing, Werke, VII, p. 288. 51 Ibid., X, p. 189. 52 p. 294, cf. also p. 254. Ibid., XVII,
Lessing
and
"
The Corrective Virtue in Comedy"
11
It is this attitude toward the les honn?tes of mind gens."53 is in of reflected the which strongly comedy writing pronounced view of comedy. character of Lessing's didactic In one of the earlier numbers of the Hamburgische Dra as Diderot before him he had done,54 that suggests, maturgie drama in the selecting of its subject matter may act as a supple ment to the laws, and rendered by comedy the moral code. The feature characteristic in the twenty-eighth In to the service calls attention indirectly in correcting the lesser offences against that reveal most clearly this passages of Lessing's view are found, however, and twenty-ninth numbers of the Dra
maturgie.
after rejecting the number, Lessing, or critics that only moral mistakes of correction are proper and fitting to arouse faults susceptible our laughter in comedy, finds the scope of comedy much von Mangel broader. "Jede Ungereimtheit, jeder Kontrast ist l?cherlich."55 This false assumption with und Realit?t, con to matter the of is he occasioned, subject comedy regard to nature true the failure the understand of the cludes, by as we with have associated and seen, this, comedy; laughter lachen and him to make the distinction between prompted In the following number he passes on to a more verlachen. demand detailed
"Die lachen;
the twenty-eighth made by some
account
Kom?die nicht
of the function
will durch Lachen
of laughter
in comedy:
Ver noch finden.
unserer selbst; in der Uebung zu bemerken; der es unter das L?cherliche allen Bem?ntelungen F?higkeit es in allen Vermischungen und der Mode, mit noch schlimmem Leidenschaft des feyerlichen oder mit guten Eigenschaften, sogar in den Runzeln Ernstes, Nutzen liegt in dem Lachen zu bemerken. des Moli?re dass der Geitzige leicht und geschwind Zugegeben der Spieler des Regnard nie einen Spieler nie einen Geitzigen, habe; gebessert 53 George 1919, p. 9. 54 Diderot (1758) hommes, couraient of MeTedith, An Essay on Comedy, London, Constable & Co.,
bloss weniger Ihr wahrer allgemeiner
Unarten, gerade diejenigen und allein die, an welchen
eben durch aber nicht bessern; ?ber die sie zu lachen macht, sich diese l?cherliche Unarten
sur la Po?sie Dramatique in the Discours had previously suggested aux arts in general; imitative il en reviendrait "0 quel bien se proposaient un objet commun, et con si tous les arts d'imitation un jour avec les lois pour nous faire aimer la vertu et ha?r le vice." the 1875, v. 7, p. 313. Lessing's
Ouevres par J. Assezat, Diderot, Paris, Compl?tes, first in 1760. of this essay appeared translation 55 DC, p. 302. Lessing, Werke,
12
Brewer
dass das Lachen diese Thoren einger?umet, schlimmer f?r sie, aber nicht f?r die Kom?die. verzweifelte befestigen. gar nicht haben, Krankheiten dem Auch
jenigen sich wider eine
heilen kann, ist der Geitzige auch dem, der lehrreich; Freygebigen ist der Spieler die Thorheiten, die sie nicht spielt, unterrichtend; es ist erspriesslich, haben andere, mit welchen sie leben m?ssen; die zu kennen, mit welchen man in Collision kommen kann; erspriesslich, all Eindr?cke zu verwahren. ist auch Ein Pr?servatif des Beyspiels hat kein kr?ftigers, und die ganze Moral wirksamere,
k?nne: desto gar nicht bessern Ihr ist genug, wenn sie keine zu in ihrer Gesundheit die Gesunden
Arzeney; als das L?cherliche."56
sch?tzbare
A brief r?sum? of the phrases used by Lessing in the above and elsewhere will reveal, when in the Dramaturgie passage and Home, how much they have compared with Shaftesbury in common in the stress which they placed upon the didactic In the reiteration of such phrases he more aspect of comedy. follows than Home. closely Shaftesbury "Comedy," Lessing a "true universal to "seeks it use" in de has says, correct"; our ability to detect the ludicrous through laughter; veloping ?"it is useful to guard against the force of example." Shaftes a of in wisdom and virtue way of bury speaks "recommending use to and of admirable is mirth"; pleasantry "comedy explode the false sublime of early poets"; and, "the help of good fer ments and a wholesome of humours would correct opposition was excessive or peccant in one way whatever in another"; to instruct as well as the pulpit." stage may be allowed each the didactic of early Greek They emphasize quality notes its "abusive from comedy. Satyre" Lessing development into "the instructive comedy";56* Shaftesbury speaks of this as a sort of counter "first formed comedy" as being "privileged "the pedagogue against the pomp and formality of the more solemn writers." Both Shaftesbury and Lessing are fond of noting the corrective nature of comedy under the figure of a remedy for a disease. The former calls attention to the policy of some never to punish nations what deserved seriously only to be was and after all best cured innocent that laughed at, by serious extravagancies and splenetic humour remedy; "against there is no other remedy than this" (humour i.e. raillery); humour is "a lenitive remedy against vice" ;"comic genius applied as a kind of caustic";?"after awhile this remedy turned into a
? " Ibid, DC, Ibid, X, p. p. 303-4. 166.
Lessing disease." and finds
in Comedy11
13
desperate health." as used by The terms in Collision kommen and Pr?servatif*7 are own reminiscent of usage. Shaftesbury's strongly Lessing, on Wit and Humour In the Essay Shaftesbury, speaking of a on freedom, says: "All in wit as being dependent refinement to is We liberty. politeness polish one another and rub owing off our corners and rough sides by a sort of amicable collision."58 And later, apropos of the social instinct, he states the principle, "That if anything be natural in any creature, or any kind, 'tis to of the kind itself, and conducing that which is preservative its welfare and support."59 And again in the Advice to an Author, to a man who in his banishment he calls attention from letters an amusement to his and discourse invented much "wittily both of health and humour."60 purpose, highly preservative, in order to account for the unsuccessful German Furthermore, in at at of the wealth of comic material attempts comedy spite a term, hand, Lessing, Shaftesburyian distinctly appropriating the blame on the superficial manner of the German places virtuosi*1 account, however, influence, possible English or strengthening in suggesting such a didactic view of that a brief survey be made of the gradual comedy, necessitates view by Lessing of this and the part played development therein by certain other contributing factors. For this emphasis on the didactic aim of comedy as set forth in the Dramaturgie represents, not certain detached views as to the aim of comedy, on the part but the result of a more or less consistent attitude is such a view of Lessing with regard to the subject. Nor
57For Schulz, H., a brief discussion of the introduction into German of the first cf. Deutsches 1913, p. Fremdw?rterbuch, Strassburg, und Verdeutschungen des ISten Jahr., 353; also W. Ztschft. f.d.
looks upon comedy as "a valued remedy" Lessing "since though it cannot heal it sufficiently worthwhile can at the well in their good least confirm it ills,
To either
V. for a
Fremdw?rter Feldmann, cf. Georg Bd. VIII (1906) p. 59; for the second Wortforschung, Schoppe, der Fremdw?rter im Deutschen, Zur Geschichte Bd. XV p. 202. (1913-14) 58 op. cit., I, p. 46. Shaftesbury, ? Ibid., p. 74. w Ibid., p. 187. 61 Cf. also Shaftesbury, op. cit., II, p. 252. Werke, DC, p. 273. Lessing,
14
Brewer
to comedy alone. The same tendency is revealed in restricted his discussion of tragedy where he reads into the Aristotelian of the emotions into catharsis a demand for the transformation even We him in the Dra find Fertigkeiten."62 "tugendhafte the demand for the instructive aim of art maturgie extending to poetry in general: "Bessern sollen uns alle Gattungen der es ist kl?glich wenn man dieses erst beweisen muss; Poesie; ist es, wenn es Dichter noch kl?glicher giebt die selbst daran zweifeln."63 Thus, although age standing out in a moralizing as a critic endeavoring to judge literature and art by aesthetic the Dramaturgie reveals Lessing still en norms, frequently in the moral considerations the 18th Century meshed which of literature in general. For Lessing, in giving greater demanded to the utile than the dulce in the aim of comedy, was prominence merely following the general trend of 18th Century thought as reflected in the best literature of the time. The faults of an on this aspect of comedy must be ascribed to a over-emphasis large extent to this fact. in German The moralizing of the age reflected tendency fed by two main channels thought and literature was, however, in his attack on the of critical and Lessing, who thought; school had advocated direct recourse principles of the Gottsched to sources as the only safe means of clarifying the discordant views on dramatic art, was singularly responsive to both French writers. and English Of the French critics no one was more responsible for the of his own critical standards As than Diderot. development in Das Neuste aus dem early as 1751, we find Lessing discussing Reiche des Witzes Diderot's essay Les Sourds etMuets;64 from then on he seems to have followed quite closely the trend of Diderot's critics differ as to Diderot's thought. Although influence, if any, upon the Laokoon (1766),65 on the other hand, in the field of drama, Lessing's to him is by his indebtedness own admission placed beyond cavil.66 In view of this, it is not
kowski, Instit. Biblio. ed. by Wit Ibid., X, p. 117; cf. also Lessing's Werke, vol. 4, p. 328. 114. <*Ibid.,X,p. M Ibid., IV, p. 415. 65 Erich Schmidt, Lessing, 533 ff. Cf. also Lessing, Laokoon Berlin, 1899,1, p. LXIX. (Howard), 68 Lessing, Werke, Vu, p. 288. ?
Lessing
and "The Corrective Virtue in Comedy"
15
for Lessing's surprising to find Diderot held chiefly responsible stress upon the didactic aim of comedy. Thus Erich Schmidt apropos of the drama in general says: "Und Diderot hat dem Drama einen recht dicken Moralzopf wie es denn geflochten, seine Schuld wesentlich dass der Theorie des ist, Lessing Dramas wenigstens ein Moralz?pfchen liess."67 To ascribe the didactic character in the aim of comedy, as set forth by Lessing in the Dramaturgie, is to lose sight, on the chiefly to Diderot, one hand, of certain other contacts equally important in their formative influence on Lessing's thought,68 and, on the other to note to fail the hand, gradual but consistent development of such ? conception of comedy from the very inception of his interest in the subject. In Lessing's education his interest centered from the very first around the drama. In the F?rstenschule at Meissen it is the character studies of Theophrastus and the comedies of and Terence Plautus in which he is most interested.59 And and started his first comedy, Der here, he found the material junge Gelehrte, which showed in spite of his limited knowledge of human nature singular sensitiveness to the inherent follies in certain aspects of academic life. His life and studies at the in Leipzig soon brought forth a series of immature University but significant efforts at comedy. Although 1747, Damon, Der Misogyn, 1748, and Die alte Jungfer, 1749, are merely weak imitations of the French?Der junge Gelehrte, 1748, Der Frey geist, 1749, and Die Juden, 1749, own individuality and foreshadow the view which later characterized him as of human folly they show a decided
?7 Erich Schmidt, op. cit., I, p. 308. 68 Diderot's indebtedness to Shaftesbury
exhibit the stamp of his frankness and liberality of a critic. In the treatment on the art of dependence
as to the problem particularly o? morality and the formative in?uence of the CJiaracteristics on his aesthetic are noted by R. L. Cru in Diderot criticism as a Disciple of English Thought, N. Y., 1913, p. 170. Cf. also E. A. Boucke, Goethes Weltanschauung auf histori scher Grundlage, in the Dramaturgie was Stuttgart 1907, p. 85. That Lessing not unaware of the eclectic nature of Diderot's views on the drama, is shown on the dialogue appended to Le fils naturel: by his comment "Auch kann man nicht verschiedene als ganz neue leugnen?dass Anmerkungen Entdeckungen darinn vorgetragen die doch nicht neu und dem Verfasser wurden, nicht eigen waren" (Werke, X, p. 147). 69 Lessing, Werke, V, p. 268.
16
Brewer
the former, with the attend Plautus and Terence, particularly in the actions thus subjected ant stress on the moral involved to ridicule. Comedy for Lessing is still concerned primarily with In a letter to his father in April, 1749 defend faults. moral ing his interest in this form of writing, he says: "Ein Kom?dien schreiber ist ein Mensch, der die Laster auf ihrer l?cherlichen Seite schildert."70 interest in Plautus,71 This thus his university antedating in and his reflected first efforts in comedy, independent period found further expression in 1750 in the studies which he devoted to Plautus. These appeared together with a translation of the zur in the Historie des und Theaters. Beitr?ge Captivi Aufnahme The to introduce the Captivi attempt is to German stage chiefly interesting which held of it high opinion Lessing this ideal he found type" of comedy; to the repertory of the us here in view of the as exhibiting the "ideal
to consist in furthering the moral improvement of the spectator.72 A few years later there appeared in the opening number of of the the Theatralische Bibliothek criticism (1754) a French weinerliche Kom?die and a defence by Geliert, to which Lessing the larger added a summary and comment.73 Anticipating as of human life of associated with the idea Comedy picture revealed in the Dramaturgie, he concluded that true comedies were those "welche so wohl so wohl Tugenden als Laster, durch als eben sie weil schildern, Anst?ndigkeit Ungereimtheit ihrem Originale, diese Vermischung dem menschlichen Leben, am n?chsten kommen." Such a contrast in human faults and virtues as revealed in this true type of comedy was, he found, alone able to exhibit to the public "nicht allein das, was es vermeiden muss, auch nicht allein das, was es beobachten muss, sondern beydes zugleich in wel in einem Lichte, vorzustellen, chem das eine das andre erhebt."74 To render this positive as well as negative to service was, as we have seen, according Shaftesbury75
70
the privilege
of the comic poets.

of arriving the Dramaturgie. of at a truer conception no. 346, Cf. Kollektaneen,
ibid., xvn, p. i6. 71 The study of Plautus comic art did not end even Ibid., XV. 75 Ibid., IV, 73 Ibid., VT, 7? 7W?., VI, 78 Cf. note 191. 50-52.
as a means with
p. pp.
p. 51. 11.
Lessing In
in Comedy"
17
1755 Lessing and Mendelssohn collaborated in the of the ein is Essay Pope writing Metaphysiker. Shaftesbury as "dieser freye Weltweise."71 If we consider there mentioned this in connection with the fact that the correspondence between and Lessing between the years 1755-57 frequently Mendelssohn alludes to Lessing's intention to write an article on the Ridicu one in and makes mention instance78 specifically of lous,77 "test of truth" hypothesis, it seems reasonable Shaftesbury's to conclude that Shaftesbury's on the extensive comment would also have claimed attention at this subject Lessing's time.79 Such a familiarity is suggested not only by the above from the essay on the weinerliche Kom?die, cited passage but in 1756 in which Lessing discusses also by a letter to Nicolai the der Kom?die.** N?tzlichkeit The function of comedy, he says, is to enable us the more easily to detect all types of the ridiculous in order that we may thereby avoid them in our own conduct, and thus become the "most well-bred and well mannered a cultural und person" (der wohlgezogenste gesitteste Mensch), ideal much stressed by Shaftesbury. And yet in this very letter, in spite of the recurrent didactic emphasis, Lessing is careful to stress the aesthetic aim as well. That he should have emphasized this aspect of comedy at a time when he was busy with a projected article on the nature of the Ridiculous and apparently in touch with Shaftesbury's views on the subject, may possibly be accounted for in part by the influence of Hutcheson,81 whose System ofMoral Philosophy was translated by Lessing in the same year as the letter to It was further strengthened, no doubt, by Dryden's Nicolai.82
" 78 Lessing, Werke, VI, p. 441. p. 120; XIX, pp. 20 and 22. Ibid., XIV, p. 204; XVH,
Pleasures
of the first complete German translation of Akenside's the Imagination in 1757, together with Mendelssohn's fondness for the poem, may have at this time contributed to Lessing's somewhat interest in the nature of the ridiculous and Shaftesbury's views thereon. 80 p. 66. Lessing, Werke, XVII, 81 In the of Shaftesbury's Hutcheson systematic presentation philosophy of been careful time recognizing to distinguish between ethical and a close connection between a letter Short aesthetic the two. while at values, Cf. Grudzinski, in which apropos of
**Jt?*.,XIX,p.30. 79The appearance
had
the same
op. cit., p. 6. 84Cf. in this connection he cites from Hutcheson Okt 1755; Lessing,
from M. Mendelssohn toMoral p. 20.
to Lessing Philosophy
Introduction XDC,
laughter,
Werke,
18
Brewer
views in his Essay on Dramatic Poesy which Lessing translated to him some years earlier.83 in 1758, although it was known to There we find that the aim of all comedy is to contribute we If "the delight and instruction of mankind."84 associate in his Defence this view with Dryden's further statement is (1668), the major emphasis of the Essay on Dramatic Poesy In fact, aim of all poetry. clearly seen to be on the aesthetic not if the where Dryden insists that "delight is the chief, only can be admitted end of poesy, instruction but in the second con place; for poesy only instructs as it delights,"85 Lessing and Lachen that the dramatic cludes from his analysis ofMitleid "dass er weder n?tzlich, noch poet has the great advantage A similar eines ohne das andere seyn kann."86 angenehm, conception of the aim of comedy is found in the critical writings of the Rev. Richard Hurd,87 whose "an und f?r sich richtige are noted by Lessing in the Dramatur Begriffe der Kom?die"88 and comedy," Hurd says, "by their lively but gie. "Tragedy cannot fail to instruct?But faithful this, representations, it be their best use, is by no means their primary though Their proper and immediate end is to please."89 intention. had brought studies for the Laokoon preliminary Lessing's to the in touch with Hurd's criticism previous him, however, was a inclined to that is at time when Lessing Dramaturgie; As aim of drama. the aesthetic rather than the utilitarian on the "weinerliche Kom early as 1754 in his comments ?die",90 Lessing had noted this twofold function of true comedy. Up to that time comedy, at least in theory, was for Lessing chiefly concerned with the correction of faults and the recom stress of virtues.
>
mendation
83L. M.
The
broader
view
of the aim of comedy
Price, English Survey, note48,p.372. Literary An Essay and Prose of Dramatick in The Critical wDryden, Poesy ?d. Edmond Works, Malone, London, 1800, vol. 1, pt. 2, p. 43. 85 op. cit., p. 160. Dryden, 89 Lessing, Werke, p. 67. XVII, 87 on the Ars The Rev. Richard Hurd in 1749 a commentary published Po?tica to which were appended the From on poetry. several critical essays of these, On tlie Province of Dramatic Poetry, in numbers 90-94 of the Dramaturgie. 88 Lessing, Werke, X, note, p. 167. 89 Flacci Epistolae ad Pisones Hurd, Q. Horatii and Critical Dissertations, 238. London, 1776, n, 00 Lessing, Werke, VI, p. 52. second Lessing quotes extensively
German
Influences
et Augustum
: Commentary
Lessing which,
in Comedy"
19
as we have seen, dates from about 1754 is, however, in with have noted with what critics regard frequently keeping to the milder didactic character of Lessing's criticism previous
to the Dramaturgie.*1
to Lessing's contact with it is seen that previous the he had followed moralists and the Shaftesbury English earlier theorists in the field92 and assigned a corrective value as the primary aim of comedy. Not until contact with Men at least for a in Lessing, stimulated delssohn93 had, perhaps, a more art the view of aim in of liberal time, general do we find Thus the more purely pleasurable aspect of drama stressed. This in turn was later confirmed by Dryden That the and Hurd. a more steer him to reveals unable consistent still Dramaturgie view must course into the broader channel of the Aristotelian be ascribed in part, not only to the age in which he wrote and the force of the earlier example, but also because of a renewed interest on his part in the corrective aspect of ridicule and the nature of the laughter associated with comedy. in For Lessing at the of the comedy intellectualizing laughter opened up same time a rear door to all the moralizing spirits who had so bravely been ushered out at the front when the principal aim of comedy.94 And it is here, demand of for comedy Lessing's capable mit dem Verst?nde" into which he injected and Home may be said that Shaftesbury suggestive interplay he made laughter in connection with
As external and stimulating. of ideas at the time Lessing was busy with the Dra the following facts are pertinent. maturgie, accounts Leslie for the warmer Stephen reception which own country in received his than among Shaftesbury Germany as to the due that in sentimentalism men, fact, Germany being or is more congenial to the national Whether tempermanent.91
91 R. Petsch, und Nicolai ?ber mit Mendelssohn Briefwechsel Lessings das Trauerspiel, Moses 1910. Einleitung, Goldstein, p. XLV andLV; Leipzig, und die deutsche Mendelssohn 1904 (Teutonia, Hef13), ?sthetik, K?nigsberg, p. 27. (Cf. also WalzeFs p. 42.); review, Anzeiger f. deutsches Altertum, XXI, Erich Schmidt, op. cit., I, p. 611. ?Cf. Werke, Witkowskfs Bibliogr. Inst. Introduction IV. to Hamb. Dramat. p. 331, Lessing's
"Lachen arousing a didactic purpose, to have been both for such an evidence
93 Petsch, op. cit., Introd., p. XLV. 94 Cf. Erich Schmidt, op. cit., I, p. 611. 95 Leslie Stephen, History of English Thought 1902, vol. II, p. 33.
in the 18th Century,
London,
20 not
Brewer
this be the real reason, the fact remains that his works found into German. That Lessing translations early repeated was interested as well as the original, is in these translations, shown as early as 1759 by a remark in the seventh Literatur to Grimm of the difficulty briefed Like Diderot who complains an adequate of finding translator for the Platon anglais?7 idea the world by the unfortunate Lessing here is perturbed if all books but those in German were would have of Shaftesbury the appearance Hence of two new transla suddenly destroyed. tions at the very time he was busied with the Dramaturgie would most and perhaps likely have claimed his attention, a of certain The first of these essays. rereading suggested which appeared at Leipzig in 1767 was intended translations to comprise all the Essays but included in the Characteristics, on two the and the Enthusiasm only actually appeared; Essay on Wit and Humour. or Essay The other Sensus Communis, It appeared translation was that of the Advice to an Author. that 18th Century gateway in Hamburg, for all things English, of the Unterhaltungen the years between in several volumes was the That Lessing's 1766-70. friend, J. J. Eschenburg, in which the opening editor of the fourth volume chapters of makes almost certain interest the Essay Lessing's appeared, These in the work. several facts become doubly significant when it is recalled that these three essays comprise Shaftes as a to contribution the chief discussion of ridicule bury's to Advice corrective force; and that one in part?cula?The an Author, published in Hamburg, contains his most extensive comment on comedy. Apropos of Home's Elements of Criticism we find in of July the (1762), Lessing noting Literaturbriefe 176598 the German translation which appeared by Meinhard in Leipzig in 1763. This time, however, he is agreeably surprised a remark which of the translation; by the general excellence at that time considerable the original. with implies familiarity VI. In the case of a writer like Lessing, with whom theory and practice went hand in hand, it is not surprising to find a demon* stration of the corrective force of riducule in comedy exhibited
* Lessing, Werke, 97 Correspondence 98 Lessing, Vm, p. 14. par Grimm-Diderot, 285. voL IX, p. 349, Quillet Litt?raire
1771).
op. cit. VU, p.
Lessing
and "The Corrective Virtue in Comedy"
21
in a drama of approximately the same period as the Dramaturgie. von Barnhelm,*9 a comedy written In Minna to appeal to the mind and arouse "thoughtful the apt wit and sound laughter," women sense two of the for the become instruments good sense of pride. Both the basis for correction of an exaggerated such pride and the method of its correction are susceptible of an to Shaftesbury's views. interpretation according In the Essay Concerning Virtue or Merit dis Shaftesbury or or two sets of affections natural "the tinguishes passions, those that lead to the good of the public, and the self-affections which lead only to the good of the private."100 The proper a or given proportion admixture of these determines whether creature will be "virtuous or vicious, good or ill." The fact that both have their purpose in the "inner economy of each nature" does not imply that an excess of any one affection may not be as as the absence or insufficiency It is, of another. injurious or concludes, much the same "with the affections Shaftesbury an as or in animal constitution with the cords strings passions If these, though in ever so just propor of a musical instrument. tion one to another, are strained beyond a certain degree, 'tis more than the instrument will bear: the lute or lyre is abused, and its effect lost. On the other hand, if while some of the strings are duly strained, others are not wound up to their due proportion,
m performed."101
then
is the instrument
still in disorder
and its part
character of Major von Tellheim lends itself to such an von In the first Tellheim is of the class which analysis. place, deemed a fitting soil for the cultivation the 18th Century of those ideals and noble passions which underlie Shaftesbury's We learn at once from Just concept of "a real fine gentleman." is exceptional that the Major both as a man and an officer; The and Minna reminds Franziska: "Es sind nicht alle Offiziere Teilheims."102 His patriotic motives,103 his generosity and the
99 Minna lished in 1767. von Barnhelm It found was sketched its first in 1763, completed in 1765, and pub on any stage in Hamburg in
presentation
of the same year. September 100 op. cit., I, p. 286. Shaftesbury, 101 Ibid., pp. 290-1. 102 Lessing, Werke, II, p. 189. 105 The high conception of the soldier's rebuke to Werner of Shaftesbury's
in the Major's calling as revealed the spirit p. 220; cf. also p. 254) is quite?in (Lessing, Werke, own view that "of all human and most the noblest affections
22
Brewer
in spite of a confessed discrimination loyalty of his friendship, in the selection of his friends,104 inspire universal regard. All attest his bravery, his honesty, and nobility of character. In tells us he speaks of no virtues, for he lacks none.105 fact, Minna Thus of the natural affections listed by Shaftesbury such as love, gratitude, bounty, generosity, pity, succour,106 Tellheim lacks none. On the other hand, there is little evidence at first of the selfish affections in any degree glance of the presence commensurate with the others; the strings of the instrument are only in part "wound up to their due proportion." It is this disproportion, this undue cultivation of the "natural affections" which prompts him, completely of his "disregardful
own convenience and safety,"107 to advance his own money
so to speak, "too to the Saxon authorities. He has become, For it is tells us, we speak "of a thus, Shaftesbury good." creature in a kind way of reproof, when his affection towards others is so warm and zealous as to carry him even beyond his are suspected, he, the part."108 As a result when his motives in human nature and disillusioned confronted of his embittered. Continually by the spectre an name he allows in offended honor, his pride untarnished to stand in the way of not only his own happiness, but Minna's as well. Thus Minna from the first diagnoses the trouble as But to pride, unpardonable pride.109 according "pride," "is a great deceiver and when you think you are Shaftesbury, most occupied with serious things then it takes you in most."110 Here then, according to Shaftesbury, is excellent material for confirmed altruist, becomes comic treatment, and it is interesting to find Lessing applying
is that of love to one's country" human nature op. cit., (Shaftesbury, His relationship with Werner also admirably the truth illustrates II, p. 224). " of Shaftesbury's remark that 'Tis in war the knot of fellowship is closert drawn." (Cf. Shaftesbury, op. cit., I, p. 76). 104 II, p. 180. Lessing, Werke, 105 Ibid., H, p. 190. 108 op. cit., I, p. 294. Shaftesbury, 107 Ibid., I, pp. 281 and 286. 108 Ibid., I, p. 288. 109 Lessing, Werke, II, pp. 225-6. 110 from Marcus Aurelius by Shaftesbury Quoted VT, 13, in a note, op. cit.. I, p. 165. becoming
Lessing at this
in Comedy"
23
juncture, not only a similar remedy, but also defining the function of laughter. explicitly the self-styled "admirer of comino a-sense, "m by the Minna, aid of Franziska, whose sententious wit has caused her mistress to call her "a moral preceptress" deter (Sittenrichterin),112 mines to reveal to Tellheim the falsity of his position by assum But before doing so she tries the r?le herself. ing a similar force of ridicule.113 First his offended honor, then his are forced to disclose state their ridiculous pretense crippled no The effort is of avail, for Tellheim's through laughter. shows a total lack of a. clarif ying sense of humor. character and the wish that he Her levity only excites his amazement To Minna with her. which too, might laugh eagerly replies: "Why not? What have you against laughter? And can one not curative also be very serious though laughing? My dear Major, laughter The proof lies before keeps us more rational than discontent. us. Your far more laughing friend judges your circumstances are than you yourself. Because you accurately discharged, because you have been you consider your honor impugned; Is that in your arm, you make yourself out a cripple. wounded Is that no exaggeration? And is it my fault, that all right? are so susceptible of ridicule?"114 And then to exaggerations she finally takes up drive the lesson home more conclusively, of his poverty and in the light of this exposition the question also is a mere delusion. of laughter shows that this contention had said of Diderot apropos of the character of Les Lessing erst mit Indiscrets: "Ein kluger Mann sagt ?fters Bijoux will."115 Minna Lachen, was er hernach im Ernste wiederholen to put this into practice with Tellheim but failed attempted her purpose, for the "volleys of silvery laughter" in attaining of "the comic muse overhead"116 awakened no echo in Tellheim. Edward V. Brewer University
m u*
of California
p. 205. of the 4th act.
Lessing,
Werke,
H,
p. 227. Ibid., n, m The test is made in the 6th scene u* H, pp. 238-9. Lessing, Werke, *? Ibid., X, p. 140. 113 op. cit., p. 90. George Meredith,

Lessing and The Virtue of Comedy

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Lessing and "The Corrective Virtue in Comedy" Author(s): Edward V.

LESSING AND "THE CORRECTIVE VIRTUE IN COMEDY"

(1925), p. 621. * "Ridicule and Truth,"

and "The Corrective Virtue

f?r die ?sthetik,

and uThe Corrective Virtue in Comedy11

Ibid., ?0 Mark 1857, pp. immediately abroad,

Akenside, 77-81. The

and uThe Corrective Virtue in Comedy"

and uThe Corrective Virtue

under by Grimm ein sondern

W?lder by two years, on to this distinction

The Corrective Virtue in Comedy"

the twenty-eighth made by some

bloss weniger Ihr wahrer allgemeiner

Unarten, gerade diejenigen und allein die, an welchen

jenigen sich wider eine

Arzeney; als das L?cherliche."56

Lessing disease." and finds

and "The Corrective Virtue

and "The Corrective Virtue in Comedy"

of the comic poets.

and "The Corrective Virtue

**Jt?*.,XIX,p.30. 79The appearance

from M. Mendelssohn toMoral p. 20.

of the aim of comedy

and "The Corrective Virtue

in the 18th Century,

and "The Corrective Virtue in Comedy"

and its part

and "The Corrective Virtue

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