etation of
an allusion which has a little perplexed the commentators, we may
observe, that ten years before, Pericles had judged a sarcasm upon the
age of Elpinice the best way to silence her importunities. The
anecdote is twice told by Plutarch, in vit. Cim., c. 14, and in vit.
Per., c. 10.

[320] Aristot., Poet. iv.

[321] "As he was removed from Cos in infancy, the name of his adopted
country prevailed over that of the country of his birth, and
Epicharmus is called of Syracuse, though born at Cos, as Apollonius is
called the Rhodian, though born at Alexandria."--Fast. Hell., vol.
ii., introduction.

[322] Moliere.

[323] Laertius, viii. For it is evident that Epicharmus the
philosopher was no other than Epicharmus the philosophical poet--the
delight of Plato, who was himself half a Pythagorean.--See Bentley,
Diss. Phal., p. 201; Laertius, viii., 78; Fynes Clinton, Fast. Hell.,
vol. ii., introduction, p. 36 (note g).

[324] A few of his plays were apparently not mythological, but they
were only exceptions from the general rule, and might have been
written after the less refining comedies of Magnes at Athens.

[325] A love of false antithesis.

[326] In Syracuse, however, the republic existed when Epicharmus
first exhibited his comedies. His genius was therefore formed by a
republic, though afterward fostered by a tyranny.

[327] For Crates acted in the plays of Cratinus before he turned
author. (See above.) Now the first play of Crates dates two years
before the first recorded play (the Archilochi) of Cratinus;
consequently Cratinus must have been celebrated long previous to the
exhibition of the Archilochi--indeed, his earlier plays appear,
according to Aristophanes, to have been the most successful, until the
old gentleman, by a last vigorous effort, beat the favourite play of
Aristophanes himself.

[328] That the magistrature did not at first authorize comedy seems a
proof that it was not at the commencement considered, like tragedy, of
a religious character. And, indeed, though modern critics constantly
urge upon us its connexion with religion, I doubt whether at any time
the populace thought more of its holier attributes and associations
than the Neapolitans of to-day are impressed with the sanctity of the
carnival when they are throwing sugarplums at each other.

[329] In the interval, however, the poets seem to have sought to
elude the law, since the names of two plays (the Satyro