e endeavoured to establish in the second
discourse[5], so strongly, as to amount to demonstrative proof.

Horace[6] expresses himself thus: "Thespis is said to have been the
first inventor of a species of tragedy, in which he carried about, in
carts, players smeared with the dregs of wine, of whom some sung and
others declaimed." This was the first attempt, both of tragedy and
comedy; for Thespis made use only of one speaker, without the least
appearance of dialogue. "Eschylus, afterwards, exhibited them with more
dignity. He placed them on a stage, somewhat above the ground, covered
their faces with masks, put buskins on their feet, dressed them in
trailing robes, and made them speak in a more lofty style." Horace omits
invention of dialogue, which we learn from Aristotle[7]. But, however,
it may be well enough inferred from the following words of Horace; this
completion is mentioned while he speaks of Eschylus, and, therefore, to
Eschylus it must be ascribed: "Then first appeared the old comedy, with
great success in its beginning." Thus we see that the Greek comedy
arose after tragedy, and, by consequence, tragedy was its parent. It was
formed in imitation of Eschylus, the inventor of the tragick drama; or,
to go yet higher into antiquity, had its original from Homer, who was
the guide of Eschylus. For, if we credit Aristotle[8], comedy had its
birth from the Margites, a satirical poem of Homer, and tragedy from the
Iliad and Odyssey. Thus the design and artifice of comedy were drawn
from Homer and Eschylus. This will appear less surprising, since the
ideas of the human mind are always gradual, and arts are seldom invented
but by imitation.

The first idea contains the seed of the second; this second, expanding
itself, gives birth to a third; and so on. Such is the progress of the
mind of man; it proceeds in its productions, step by step, in the same
manner as nature multiplies her works by imitating, or repeating her own
act, when she seems most to run into variety. In this manner it was that
comedy had its birth, its increase, its improvement, its perfection, and
its diversity.

But the question is, who was the happy author of that imitation, and
that show, whether only one, like Eschylus of tragedy, or whether they
were several? for neither Horace, nor any before him, explained this[9].
This poet only quotes three writers who had reputation in the old
comedy, Eupolis[10], Cratinus[11], and Aristophanes; of whom