abolished or justified the phallic element.[1] After that comedy develops even more rapidly than tragedy. The chorus takes a more real and lifelike part in the action; its inherent absurdity does much less harm, and it disappears more rapidly. The last work of Aristophanes is almost without chorus, and marks the intermediate development known as the Middle Comedy, tamer than the Old, not so perfect as the New. Then comes, in weaker hands, alas! and brains less 'dæmonic,' the realisation of the strivings of Euripides, the triumph of the dramatic principle, the art that is neither tragic nor comic but both at once, which aims self-consciously at being "the imitation of life, the mirror of human intercourse, the expression of reality."[2] This form of art once established lasted for centuries. It began shortly after 400 B.C., when public poverty joined with artistic feeling in securing the abolition of the costly chorus, and when the free libel of public persons had, after long struggles and reactions, become finally recognised as offensive. It reached its zenith with Menander and Philêmon about 300 B.C.; while inscriptions of various dates about 160 have recently taught us that even at that time five original comedies a year were still expected at the great Dionysia, besides the reproduction of old ones. It is a curious irony of fortune that has utterly obliterated, save for a large store of 'fragments' and a few coarse Latin adaptations, the whole of this exceptionally rich department of ancient literature.
