paragenesthai, uponustazein te) to mentoi kethalaion ethae,
prosanagkazein ton S'okratae omologein autous tou autou andros einai
k'om'odian kai trag'odian epistasthai poiein, kai ton technae
trag'odopoion onta, kai k'om'odopoion einai. Symp. sub fine.]





PROGRESS OF THE DRAMA.

Let two persons join in the same scheme to ridicule a third, and either
take advantage of, or invent, some story for that purpose, and mimicry
will have already produced a sort of rude comedy. It becomes an inviting
treat to the populace, and gains an additional zest and burlesque by
following the already established plan of tragedy; and the first man of
genius who seizes the idea, and reduces it into form,--into a work of
art,--by metre and music, is the Aristophanes of the country.

How just this account is will appear from the fact that in the first or
old comedy of the Athenians, most of the 'dramatis personae' were living
characters introduced under their own names; and no doubt, their
ordinary dress, manner, person and voice were closely mimicked. In less
favourable states of society, as that of England in the middle ages, the
beginnings of comedy would be constantly taking place from the mimics
and satirical minstrels; but from want of fixed abode, popular
government, and the successive attendance of the same auditors, it would
still remain in embryo. I shall, perhaps, have occasion to observe that
this remark is not without importance in explaining the essential
differences of the modern and ancient theatres.