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Show THE COMPOSITION OF BALLETS. 219 comedy. According to Suidas, Alceus Epigenes and Thespis made the first attempts at tragedy, which was soon after to be fully developed by the genius of /Eschylus. Phrynicus, a disciple of Thespis, introduced female characters upon the stage. Thespis himself was the first actor of w h o m we have any account. Thelestes made great progress in his art by performing in the pieces of vEschylus: he was both actor and Pantomime. Aristocles loads him with panegyric as having brought to perfection the art of gesture. The masterpieces of j^Eschylus, Sophocles, and Euripides followed almost immediately the Alcestis of Thespis, with an astonishing and gigantic stride towards perfection. Under Solon, lived Susarion and Dolon, who were the first that produced farces on the stage. iEschylus, Acheus, and Hegemon also distinguished themselves in this class. But it is to Epicharmes we owe the model of legitimate comedy. Cratinus, Maenander, Philemon, and Aristophanes brought it to perfection. Livius Andronicus, Ennius, Naevius, Varius, the second Pomponius, Pacuvius, the Sophocles of the Romans, Plautus, Trabea, Terence, & c , adorned the drama of ancient Rome by imitating the Greeks. The plots or intrigues of the dramas of ^Eschylus are extremely simple, and I may compare his manner to that of Michael Angelo. It must, however, be objected to him, as well as to Alfieri, that he has not given sufficient attention to the pathetic. The Italian poet seems to have modelled himself upon the Greek; they are nearly similar in style ; and the lofty genius of both has frequently directed them to objects of a moral or political character. Sophocles, on the contrary, manages the plots of his tragedies with more skill and address. He is ever pathetic, |