Abstract

Greek New Comedy, as we know it from references and fragmentary MSS., is the meeting-place of three confluent streams—comedy of manners, Aristophanic comedy, and tragedy. From Sicilian comedy, through Epicharmus at Syracuse and Crates and Pherecrates at Athens, it inherited certain stock stage figures, and a tradition of ‘invented’ plots and sententious speech. Old Comedy it resembled in its fun and informality and many stage conventions; and, indeed, the resemblance was so marked, in at least one of the later plays of Aristophanes, that the writer of his life, mistaking effect for cause, claimed the lost Cocalus as the original model of New Comedy. Perhaps most important of all was the influence of tragedy; and this influence may be estimated by a direct comparison between Euripides and Menander, both in the spirit and form of their plays and in the social and philosophic theories underlying them