literature abounds in caustic satire of the canting Puritan—from Jonson's Zeal-of-the-Land-Busy to Howard's Committee-Men.[1] Nowhere, however, is the sketch so full and particular, and for the world at large—even the English world—it may safely be said that Tartufe is a living original, whom it would be difficult to displace. Now it is in the nature of things that the strongest types and -the best adapted for stage purposes should gradually be used up. Effective adaptations of an old subject may still be possible; but it is not writers of the highest capacity who will attempt them, and the reading world, which remembers what has been done before, will never accord more than a secondary recognition to the adaptation. It is not the least merit of Sheridan that he thoroughly understood this, and made his Joseph Surface an original by endowing him with the platitudes of social morality, and suppressing all reference to the religion that Tartufe desecrates. Precisely, however, because these types have been so inimitably sketched is the man who would tread in the same path uncomfortably circumscribed.[2]
Now if there are limits to the conception of human characters, into the making up of which so many elements and motives enter, much more must there be a limit to the expression of feeling and emotion. In Hamlet or Beatrice or Macbeth we pass from one phase of thought
- ↑ Ben Jonson's Bartholomew Fair; Sir R. Howard's The Committee. Compare Scrapeall in Shadwell's Squire of Alsatia.
- ↑ Perhaps as strong an instance as any of the way in which later writers are circumscribed by the existence of a recognised type is to be found in the influence exerted by Molière's Misanthrope. The character of Alceste has been imitated by Wycherley in the Plain Dealer, and by Marivaux in Les Sincères. Wycherley in the effort to be original has made his honest man boisterous and brutal, while Marivaux has refined him away into a very ordinary gentleman, who is a little wanting in tact.
