, which took the administration from the multitude and vested
it in a few chosen men. The corruptions of the stage were then attended
to, and the poets were restrained by law from mentioning any man's name
on the stage. With this law terminated that which is called THE OLD
COMEDY.

So far was this law from producing the salutary effect expected from it,
that it rendered the poison more mischievous by depriving it of the
grossness which in some degree operated as an antidote to its baleful
effects. The poets finding that certain limits were prescribed to them,
had recourse to greater ingenuity, and by cunning transgressed the
spirit while they obeyed the letter of the law. They fell to work upon
well known real characters, concealed under fictitious names; thereby
not only exciting in the multitude a keener relish for their slanders,
but giving a more wide and extensive scope to the operation of their
malice. When the name of the object was openly told, the calumny rested
upon him alone--but when a fictitious name was held up, however well
known the real object might be, the slander was applied to many, and
each spectator fixed it upon that particular person whom stupidity,
malice, or personal hatred first suggested to him. Thus the hearts of
the people were more corrupted by the more refined malice of guessing
the persons intended.

This is what has been denominated the MIDDLE COMEDY. In this particular
era it was that Aristophanes flourished, doing more mischief by his
labours than all the wit which was lavished upon the Grecian multitude
in ages could counterbalance. The virulence of the canker, however, at
last enforced the necessity of a resolute cure. The magistrates
interdicted the poets and players not only from using real names but
from representing real subjects. This admirable refinement produced
correspondent effects: comedy assumed a new character, and acquired a
new name. The poets being obliged to bring imaginary subjects and
fictitious names upon the stage, the safety of individuals from those
butcher slanderers was secured, and that safety begat tranquillity--thus
the theatre was gradually purified and enriched; and shortly after
Menander arose to dignify comedy and rescue the drama, and the public
taste of Greece from barbarism. This is the third division alluded to,
and is called the NEW COMEDY. A sad proof of the danger to a nation of
allowing a false or corrupt practice to prevail for any time, aris