the oldest form of the drama. There can be no question that the Greek rustics who smeared their faces with wine-lees at the Dionysiac festivals, and from whose improvised songs and gestures Greek comedy was developed, virtually enacted the same parts as the Tuscan and Neapolitan peasants, who, inheriting this rude entertainment from Roman times, preserved it through the Middle Ages, until it assumed new importance in the general awakening of the sixteenth century. The original wine-lees gave place to masks, and as masks cannot be varied ad infiniium, the characters became limited to a few well-defined and salient types. Hence every piece had substantially the same personages; although the Italian comedy allows of numerous variations upon its four stock parts. This caused the dialogue to be mainly extemporaneous; and as comedy is more easily extemporised than tragedy, the pieces tended more and more towards farce. At the same time, "the fertility of fancy, quickness of intelligence, facility of utterance, command of language, and presence of mind," indispensable to a good impromptu comedian, bestowed a certain regularity upon the performance. The actor was obliged to observe the conditions imposed by the character he represented, conventional as this was: if he enacted Pantaloon, he must not comport himself as Brighella or the Doctor, and vice versâ. As in the Indian drama, the comic passages were usually in dialect; the serious, if any, in cultivated language. Despised as literature, these pieces attained great popularity even beyond the limits of Italy, especially in Paris, where they divided public favour with the national theatre for a hundred and fifty years. As, however, they were mainly improvised, and no care was taken of such parts as might chance to be written down,
