EPICHARMUS (c. 54 0 -45 0 B.C.), Greek comic poet, was born in the island of Cos.
As a satirist and comic poet he followed Baggesen, and in all branches of the poetic art stood a little aside out of the main current of romanticism.
He was attracted towards domestic tragedy by an irresistible desire to sound the depths of abnormal conflicts between passion and circumstances, to romantic comedy by a strong though not widely varied imaginative faculty, and by a delusion that he was possessed of abundant comic humour.
But we find no trace of the exuberant comic power and geniality of his great contemporary.
He is at home alike in the epic and the lyric, the tragic and the comic poets, and his knowledge of the prose writers is very extensive.
The characters are well drawn and the dialogue full of comic strength, the scenes knit together and the plot skilfully worked out.
Comic poets, Old (7): Epicharmus, Cratinus, Eupolis, Aristo phanes, Pherecrates, Crates, Plato.
The praise given to his concerto for the violin, which was played at the Conservatoire by Mazas, encouraged him to undertake the resetting of the old comic opera, Julie (1811).
The comic papyri of the XXth Dynasty have also a very strong sense of character, even through coarse drawing and some childish combinations.
Jens Baggesen is the greatest comic poet that Denmark has produced; and as a satirist and witty lyrist he has no rival among the Danes.
His pieces abound in comic situations, and some of them, Magister Blackstadius (1844), Rika Morbror (1845), En tragedi i Vimtnerby (1848) and others, maintain their reputation.
1174 569 AH.) and his contemporaries, AbU All Shatranji of the samc town, Lami of Bokhara, and others gained a certain literar) reputationor into mere comic pieces and jocular poems lik the Pleasantries (Hazliyyal) and the humorous stories of th Mouse and Cat and the Stone-cutter (Sangtaras/i) b) Ubaid ZAkni (d.
A brief tract on comic metres (De comicis dimensionibus) and a work De causis linguae Latinae - the earliest Latin grammar on scientific principles and following a scientific method - were his only other purely literary works published in his lifetime.
The comic element by way of relief, and in course of time he arrives at pure comedy and develops the study of character.
His Amphitryons is a free imitation of the Latin, yet thoroughly national in spirit and cast in the popular redondilha; the dialogue is spirited, the situations comic. King Seleucus derives from Plutarch and has a prose prologue of real interest for the history of the stage, while Filodemo is a clever tragi-comedy in verse with prose dialogues interspersed.
There are numerous French and Latin letters, his Apologie, a promising fragment of comic prose narrative, and a large collection of occasional verses, odes, elegies, stanzas, &c.
Here and there there are touches of the latter, as in the portrait of Quintessence, but passion is everywhere absent - an absence for which the comic structure and plan of the book do not by any means supply a complete explanation.
Yet, in the words of Macaulay, who gives an admirable account of the discussion in his essay on the comic dramatists of the Restoration, "when all deductions have been made, great merit must be allowed to the work."
Plutarch (Pericles) gives many interesting details as to Pericles' personal bearing, home life, and patronage of art, literature and philosophy, derived in part from the old comic poets, Aristophanes, Cratinus, Eupolis, Hermippus, Plato and Teleclides; in part from the contemporary memoirs of Stesimbrotus and Ion of Chios.
Humiliating to human nature in general as are the annals of the 18th-century campaigns in Europe, there is no point of view from which they appear in a light so tragi-comic as from that afforded by Italian history.
A situation - hazardous in spite of its comic substratum - between Thaumasta and the pretended Parthenophil is conducted, as Gifford points out, with real delicacy; but the comic scenes are merely stagy, notwithstanding, or by reason of, the effort expended on them by the author.
Gifford holds that Dekker's hand is perpetually traceable in the first three acts of The Sun's Darling, and through the whole of its comic part, but that the last two acts are mainly Ford's.
The orchestration is already almost classically Wagnerian; though there remains an excessive amount of tremolo, besides a few lapses into comic violence, as in the yelpings which accompany Ortrud's rage in the night-scene in the second act.
Die Meistersinger is perhaps Wagner's most nearly perfect work of art; and it is a striking proof of its purity and greatness that, while the whole work is in the happiest comic vein, no one ever thinks of it as in any way slighter than Wagner's tragic works.
Actors, comic and tragic, pantomimi, and the performers of the circus were commonly slaves, as were also the gladiators.
While he is never ranked as a writer of tragedy with Ennius, Pacuvius or Accius, he is placed in the canon of the grammarian Volcaaus Sedigitus third (immediately after Caecilius and Plautus) in the rank of Roman comic authors.
As a dramatist he worked more in the spirit of Plautus than of Ennius, Pacuvius, Accius or Terence; but the great Umbrian humorist is separated from his older contemporary, not only by his breadth of comic power, but by his general attitude of moral and political indifference.
Aliscans continues the story, telling how Guillaume obtained reinforcements from Laon, and how, with the help of the comic hero, the scullion Rainouart or Rennewart, he avenged the defeat of Aliscans and his nephew's death.
Doveri and erected in 1816, although modern, has an historic interest as the work of an academy dating from the 16th century, called the Congrega de' Rozzi, that played an important part in the history of the Italian comic stage.
Terence's earliest play was the Andria, exhibited in 166 B.C. A pretty, but perhaps apocryphal, story is told of his having read the play, before its exhibition, to Caecilius (who, after the death of Plautus, ranked as the foremost comic poet), and of the generous admiration of it manifested by Caecilius.
Julius Caesar's lines on Terence, the "dimidiatus Menander," while they complain of lack of comic power, characterize him as "puri sermonis amator."