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Updated: June 27, 2025
It was probably, as we have already said, external considerations alone that induced the poet to adhere in comedy so much as he did to the Greek originals; and this did not prevent him from far outstripping his successors and probably even the insipid originals in the freshness of his mirth and in the fulness of his living interest in the present; indeed in a certain sense he reverted to the paths of the Aristophanic comedy.
To Mr. T. Longman C. O., January 31st. I have read Rudd's translation of Aristophanes with a good deal of interest. It is as good as it can possibly be without the slightest gleam of fun or genius. Frere's translations are blazing with both, and that constitutes their charm. Rudd is evidently a worthy, dull man, who administers the Aristophanic champagne as if it were mere brown stout.
The Misanthrope and the Tartuffe have no audible laughter; but the characters are steeped in the comic spirit. Between these two stand Shakespeare and Cervantes, with the richer laugh of heart and mind in one; with much of the Aristophanic robustness, something of Moliere's delicacy.
MY DEAR, AUDACIOUS MOORE, Many thanks for the "Confessions" which I have read with great interest, and admiration for your originality your delightful criticisms your Aristophanic joy, or at least enjoyment, in life your unfailing liveliness. Of course, there are many things in the book I don't agree with.
With a mighty debate, A profound speculation about the creation And organical life, and chaotical strife, With various notions of heavenly motions, And rivers and oceans, and valleys and mountains, And sources of fountains, and meteors on high, And stars in the sky, propose by and bye, like John Hookham Frere's Aristophanic Birds, If we'll listen and hear, To make perfectly clear
Nothing in Aristophanes is more truly Aristophanic than the description of the human monster whirling round on four arms and four legs, eight in all, with incredible rapidity.
It is in vain to get ourselves up as romantic, or classical, or Christian, or Florentine, or barocco, or "national," in moribus et artibus: it does not "clothe us"! But the "spirit," especially the "historical spirit," profits even by this desperation: once and again a new sample of the past or of the foreign is tested, put on, taken off, packed up, and above all studied we are the first studious age in puncto of "costumes," I mean as concerns morals, articles of belief, artistic tastes, and religions; we are prepared as no other age has ever been for a carnival in the grand style, for the most spiritual festival laughter and arrogance, for the transcendental height of supreme folly and Aristophanic ridicule of the world.
But from this philosophy the fervent soul of Savonarola turned with no less loathing, and with more contempt, than from the Canti Carnascialeschi and Aristophanic pageants of Lorenzo, which made Florence at Carnival time affect the fashions of Athens during the Dionysia. It is true that Italy owed much to the elevated theism developed by Platonic students.
It was probably, as we have already said, external considerations alone that induced the poet to adhere in comedy so much as he did to the Greek originals; and this did not prevent him from far outstripping his successors and probably even the insipid originals in the freshness of his mirth and in the fulness of his living interest in the present; indeed in a certain sense he reverted to the paths of the Aristophanic comedy.
ARISTOPHANES, MOLIERE, and FOOTE, are brothers of the family of national wits; the wit of Aristophanes was a part of the common property, and Molière and Foote were Aristophanic. PLUTARCH, LA MOTHE LE VAYER, and BAYLE, alike busied in amassing the materials of human thought and human action, with the same vigorous and vagrant curiosity, must have had the same habits of life.
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