EPICHARMUS (c. 54 0 -45 0 B.C.), Greek comic poet, was born in the island of Cos.
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).
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.
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.
The comic element by way of relief, and in course of time he arrives at pure comedy and develops the study of character.
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."
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.
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.
But we find no trace of the exuberant comic power and geniality of his great contemporary.
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.
The characters are well drawn and the dialogue full of comic strength, the scenes knit together and the plot skilfully worked out.
He also composed commentaries on the lyric and comic poets and on Thucydides and Demosthenes; part of his commentary on this last author was first published in 1904.
Comic poets, Old (7): Epicharmus, Cratinus, Eupolis, Aristo phanes, Pherecrates, Crates, Plato.
The comic papyri of the XXth Dynasty have also a very strong sense of character, even through coarse drawing and some childish combinations.
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.
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.
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.
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.
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.
The Operas portuguezas of Antonio Jose da Silva, produced between 1733 and 1741, owe their name to the fact that arias, minuets and modinhas were interspersed with the prose dialogue, and if neither the plots, style, nor language are remarkable, they have a real comic force and a certain originality.
The comic poets satirized them, and Plato and Demosthenes inveighed against them; but they continued to spread, with all their fervid enthusiasm, their superstition and their obscene practices, wide among the people, whose religious cravings were not satisfied with the purely external religions of Hellenism.
This firm prospered for a while, and issued in 1889 Mark Twain's own comic romance, A Connecticut Yankee at King Arthur's Court, and in 1892 a less successful novel, The American Claimant.
The first fruits of his work were a comic opera, Der neue krumme Teufel, and a Mass in F major (both written in 1751), the former of which was produced with success.
Before his Richard had exhausted its original effect, he won new applause as Aboan, and soon afterwards as Lear and as Pierre in Otway's Venice Preserved, as well as in several comic characters (including that of Bayes).
Some of the old masters of the Yamato school were, however, admirable in their rendering of the burlesqtie, and in modern times KyOsai, the last of the Hokusai school, outdid all his predecessors in the riotous originality of his weird and comic fancies.
It is at first sight remarkable that Voltaire, whose comic power was undoubtedly far in excess of his tragic, should have written many tragedies of no small excellence in their way, but only one fair second-class comedy, Nanine.
If further selection be made from the large body of miscellaneous poems, the comic poem on the physician Andro Kennedy may stand out as one of the best contributions to medieval Goliardic literature; The Two Mariit Wemen and the Wedo, as one of the richest and most effective pastiches in the older alliterative style, then used by the Scottish Chaucerians for burlesque purposes; Done is a battell on the Dragon Blak, for religious feeling expressed in melodious verse; and the well-known Lament for the Makaris.
Julius Caesar's lines on Terence, the "dimidiatus Menander," while they complain of lack of comic power, characterize him as "puri sermonis amator."