productions: and particularly, whoever has a taste for true humour, will find a hundred instances of it in those volumes printed in France under the name of Le Theatre Italien; to say nothing of Rabelais, Cervantes, and many others.
Now I take the comedy, or farce (or whatever name the criticks will allow it) called the Beggar's Opera, to excel in this article of humour; and upon that merit to have met with such prodigious success, both here and in England.
As to poetry, eloquence, and musick, which are said to have most power over the minds of men; it is certain that very few have a taste or judgment of the excellencies of the two former; and if a man succeed in either, it is upon the authority of those few judges, that lend their taste to the bulk of readers, who have none of their own. I am told there are as few good judges in musick; and that among those who crowd the operas, nine in ten go thither merely out of curiosity, fashion, or affectation.
But a taste for humour is in some manner fixed to the very nature of man, and generally obvious to the vulgar: except upon subjects too refined, and superiour to their understanding.
And, as this taste of humour is purely natural, so is humour itself; neither is it a talent confined to men of wit or learning; for we observe it sometimes among common servants, and the meanest of the people, while the very owners are often ignorant of the gift they possess.
I know very well, that this happy talent is contemptibly treated by criticks, under the name of low humour, or low comedy; but I know likewise
