verse, for, beginning with verse, he deliberately set it aside in favour
of prose, and, having proved the superiority of prose for this purpose,
persisted in it to the end. Of his eight plays, the more interesting
only will be dealt with here; the rest we leave to the curiosity of the
reader.

_Campaspe_, his first prose comedy, is perhaps the most perfect example
of the new euphuistic method at work. The plot is of the slightest.
Alexander the Great is in love with the beauty of Campaspe, a Theban
captive; but Apelles, the artist, who is ordered to paint her picture,
having also fallen in love with her, and won her love, Alexander in the
end graciously resigns his claim upon her. This is the plot, but it is
very little guide to the contents of the play, which is crowded with
characters. There are, in addition to the three leading persons, four
Warriors to discuss the condition of the army, seven Philosophers to
puzzle each other with disputation and metaphysical conundrums, three
Servants to deride their masters behind their backs, a General to act as
Alexander's confidant and counsellor, beside some nine others and a
company of citizens. One of the chief characters, Diogenes, stands quite
apart from the plot, his office being to provide an inexhaustible fund
of shrewd, biting retorts for such as dare to question him. He is even
elevated to the centre of a major episode in which the Athenian
populace, credulous of a report that he is about to fly, is deceived
into hearing a very sharp sermon as, on the wings of criticism, Diogenes
executes an oratorical flight over their many failings. The following
scene between him and a beggar reveals the nature of his wit.

_Alexander_ (_aside_). Behold Diogenes talking with one at his tub.

_Crysus._ One penny, Diogenes; I am a Cynic.