rites of hospitality (for which Ulysses eloquently pleaded), were
afterwards put down into the den, and some of them devoured; after
which Ulysses (having made him drunk when he was asleep) thrust a
great fire-brand into his eye, and so revenging his dead followers
escaped with the remaining party of the living, and Silenus and the
Satyrs were freed from their servitude under Polyphemus and remitted
to their first liberty of attending and accompanying their patron
Bacchus.

This was the subject of the tragedy, which, being one of those that
end with a happy event, is therefore by Aristotle judged below the
other sort, whose success is unfortunate; notwithstanding which, the
Satyrs (who were part of the dramatis personae, as well as the whole
chorus) were properly introduced into the nature of the poem, which
is mixed of farce and tragedy. The adventure of Ulysses was to
entertain the judging part of the audience, and the uncouth persons
of Silenus and the Satyrs to divert the common people with their
gross railleries.

Your lordship has perceived by this time that this satiric tragedy
and the Roman satire have little resemblance in any of their
features. The very kinds are different; for what has a pastoral
tragedy to do with a paper of verses satirically written? The
character and raillery of the Satyrs is the only thing that could
pretend to a likeness, were Scaliger and Heinsius alive to maintain
their opinion. And the first farces of the Romans, which were the
rudiments of their poetry, were written before they had any
communication with the Greeks, or indeed any knowledge of that
people.