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 not account for the fact that even the highest style of comedy has fallen into disrepute. Modern counterparts of Much Ado about Nothing, or The Merchant of Venice, of Tartufe or Le Misanthrope, seem to be as little attempted as the old form of tragedy. The popular form of amusement in England is broad farce or the extravaganza; and some of Mr. Gilbert's work in this last direction is so admirable as to show that genius may impress its own stamp upon its masterpieces, and yet be popular, if it consults the spirit of the age. Perhaps it is most reasonable to assume that the novel has killed the drama as a delineation of human energy and suffering. The novel makes less demand upon the attention, can reiterate strokes and deepen colours where the first effect has failed, and can be produced in endless variety. There is a certain class of work, the minute and progressive analysis of a character undergoing change, that the novel perhaps achieves better than the play. Meanwhile, the substitution of the book for the counterfeit presentation in the higher range of subject may surely be said to have debased one large and important class of amusement by restricting it to pageantry and sensational effects or vulgar allusion; to shifts of dresses, to the jokes of a Jack-Pudding, to pugilistic encounters, or to the bringing of a whole farmyard in feather and fleece on the stage.

It is, no doubt, to be borne in mind that although the English drama was incomparably the best in the world at one time, and though the English dramatists are the only moderns who will bear comparison with the Greeks, the French have excelled us for two centuries and a half in the average excellence of their work, and in the capacity for criticism. Now, the decadence of the