‘It is difficult to compare the Aristophanic Comedy to any one form of modern literature, dramatic or other. It perhaps most resembles what we now call burlesque; but it had also very much in it of broad farce and comic opera, and something also (in the hits at the fashions and follies of the day with which it abounded) of the modern pantomime. But it was something more, and more important to the Athenian public than any or all of these could have been. Almost always more or less political, and sometimes intensely personal, and always with some purpose more or less important underlying its wildest vagaries and coarsest buffooneries, it supplied the place of the political journal, the literary review, the popular caricature and the party pamphlet, of our own times. It combined the attractions and influence of all these; for its grotesque masks and elaborate ‘spectacle’ addressed the eye as strongly as the author’s keenest witticisms did the ear of his audience.’