APPENDIX TO THE TWELFTH LECTURE. 171 DIKAIOPOLIS What! you compose aloft and not below. EURIPIDES. What rags will suit you? Those in which old Eneus, No, not Bellerophon. Though the man I mean 172 APPENDIX TO THE TWELFTH LECTURE. DIKAIOPOLIS (putting them on). Now Jove! who lookest on, and see'st through all*, It goes, I think, together with these rags : "For thee, my blessing; for Telephus, my thoughts†." EURIPIDES. Here, take one, and thyself too from these doors. DIKAIOPOLIS. (Aside.) See'st thou, my soul,-he'd drive thee from his door A supple, oily beggar. (Aloud.) Good Euripides, Scorch'd, 'twill do. Poor wretch! A basket? What's thy need on't? EURIPIDES. DIKAIOPOLIS. No need beyond the simple wish to have it. You're getting troublesome. Come pack-be off. (Aside.) Faugh! Faugh! EURIPIDES. DIKAIOPOLIS. (Aloud.) May heaven prosper thee as-thy good mother‡. Be off, I say! EURIPIDES. DIKAIOPOLIS. Not till thou grant'st my prayer. Only a little cup with broken rim. * Alluding to the holes in the mantle which he holds up to the light. †These lines are from Euripides' tragedy of Telephus. An allusion (which a few lines lower is again repeated) to his mother as a poor retailer of vegetables. APPENDIX TO THE TWELFTH LECTURE. EURIPIDES. Take it and go; for know you're quite a plague. DIKAIOPOLIS. (Aside.) Knows he how great a pest he is himself? (Aloud.) But, my Euripides! my sweet! one thing more: Give me a cracked pipkin stopped with sponge. 173 Undoes me. Good, sweet Euripides! Grant me but this, I'll ask no more, but go- You'll ruin me. EURIPIDES. See there! A whole play's gone! DIKAIOPOLIS (seemingly going off). Nothing more now. I'm really off. I am, I own, Aught more than this; but one-this one alone: EURIPIDES. The fellow would insult me-shut the door. (The Encyclema revolves, and Euripides and Cephisophon retire.} DIKAIOPOLIS. Soul of me, thou must go without a pot-herb! Wist thou what conflict thou must soon contend in 174 THE MIDDLE COMEDY, LECTURE XIII. Whether the Middle Comedy was a distinct species-Origin of the New Comedy-A mixed species-Its prosaic character-Whether versification is essential to Comedy-Subordinate kinds-Pieces of Character, and of Intrigue-The Comic of observation, of self-consciousness, and arbitrary Comic-Morality of Comedy-Plautus and Terence as imitators of the Greeks here cited and characterised for want of the Originals-Moral and social aim of the Attic Comedy-Statues of two Comic Authors. ANCIENT critics assume the existence of a Middle Comedy, between the Old and the New. Its distinguishing characteristics are variously described: by some its peculiarity is made to consist in the abstinence from personal satire and introduction of real characters, and by others in the abolition of the chorus. But the introduction of real persons under their true names was never an indispensable requisite. Indeed, in several, even of Aristophanes' plays, we find characters in no respect historical, but altogether fictitious, but bearing significant names, after the manner of the New Comedy; while personal satire is only occasionally employed. This right of personal satire was no doubt, as I have already shown, essential to the Old Comedy, and the loss of it incapacitated the poets from throwing ridicule on public actions and affairs of state. When accordingly they confined themselves to private life, the chorus ceased at once to have any significance. However, accidental circumstances accelerated its abolition. To dress and train the choristers was an expensive undertaking; now, as Comedy with the forfeiture of its political privileges lost also its festal dignity, and was degraded into a mere amusement, the poet no longer found any rich patrons willing to take upon themselves the expense of furnishing the chorus. Platonius mentions a further characteristic of the Middle Comedy. On account, he says, of the danger of alluding to public affairs, the comic writers had turned all their satire against serious poetry, whether epic or tragic, and sought to WHETHER A DISTINCT SPECIES. 175 expose its absurdities and contradictions. As a specimen of this kind he gives the Eolosikon, one of Aristophanes latest works. This description coincides with the idea of parody, which we placed foremost in our account of the Old Comedy. Platonius adduces also another instance in the Ulysses of Cratinus, a burlesque of the Odyssey. But, in order of time, no play of Cratinus could belong to the Middle Comedy; for his death is mentioned by Aristophanes in his Peace. And as to the drama of Eupolis, in which he described what we call an Utopia, or Lubberly Land, what else was it but a parody of the poetical legends of the golden age? But in Aristophanes, not to mention his parodies of so many tragic scenes, are not the Heaven-journey of Trygæus, and the Hell-journey of Bacchus, ludicrous imitations of the deeds of Bellerophon and Hercules, sung in epic and tragic poetry? In vain therefore should we seek in this restriction to parody any distinctive peculiarity of the so-called Middle Comedy. Frolicsome caprice, and allegorical significance of composition are, poetically considered, the only essential criteria of the Old Comedy. In this class, therefore, we shall rank every work where we find these qualities, in whatever times, and under whatever circumstances, it may have been composed. As the New Comedy arose out of a mere negation, the abolition, viz., of the old political freedom, we may easily conceive that there would be an interval of fluctuating, and tentative efforts to supply its place, before a new comic form could be developed and fully established. Hence there may have been many kinds of the Middle Comedy, many intermediate gradations, between the Old and the New; and this is the opinion of some men of learning. And, indeed, historically considered, there appears good grounds for such a view; but in an artistic point of view, a transition does not itself constitute a species. We proceed therefore at once to the New Comedy, or that species of poetry which with us receives the appellation of Comedy. We shall, I think, form a more correct notion of it, if we consider it in its historical connexion, and from a regard to its various ingredients explain it to be a mixed and modified species, than we should were we to term it an original and pure species, as those do who either do not concern themselves at all with the Old Comedy, or else regard it as |