day a caricature in St. James's-street,
or a squib in a weekly newspaper--a power which exposed to relentless
ridicule, before the most susceptible and numerous tribunal, the
loftiest names in rank, in wisdom, and in genius--and which could not
have deprived a beggar of his obol or a scavenger of his office: THE
POWER OF THE COMIC MUSE.

VI. We have seen that in the early village festivals, out of which
grew the tragedy of Phrynichus and Aeschylus, there were, besides the
Dithyramb and the Satyrs, the Phallic processions, which diversified
the ceremony by the lowest jests mingled with the wildest satire. As
her tragedy had its origin in the Dithyramb--as her satyric
after-piece had its origin in the satyric buffooneries--so out of the
Phallic processions rose the Comedy of Greece (B. C. 562) [320].
Susarion is asserted by some to have been a Megarian by origin; and
while the democracy of Megara was yet in force, he appears to have
roughly shaped the disorderly merriment of the procession into a rude
farce, interspersed with the old choral songs. The close connexion
between Megara and Athens soon served to communicate to the latter the
improvements of Susarion; and these improvements obtained for the
Megarian the title of inventer of comedy, with about the same justice
as a similar degree of art conferred upon the later Thespis the
distinction of the origin of tragedy. The study of Homer's epics had
suggested its true province to tragedy; the study of the Margites,
attributed also to Homer, seems to have defined and enlarged the
domain of comedy. Eleven years after Phrynichus appeared, and just
previous to the first effort of Aeschylus (B. C. 500), Epicharmus, who
appears to have been a native of Cos [321], produced at Syracuse the
earliest symmetrical and systematic form of comic dialogue and fable.
All accounts prove him to have been a man of extraordinary genius, and
of very thoughtful and accomplished mind. Perhaps the loss of his
works is not the least to be lamented of those priceless treasures
which time has destroyed. So uncertain, after all, is the great
tribunal of posterity, which is often as little to be relied upon as
the caprice of the passing day! We have the worthless Electra of
Euripides--we have lost all, save the titles and a few sententious
fragments, of thirty-five comedies of Epicharmus! Yet if Horace
inform us rightly, that the poet of Syracuse was the model of Plautus,
perhaps in the Amp