See also:

• CRATINUS (c. 520—423 B.C.)

CRATINUS (c. 520—423 B.C.)  , Athenian comic poet, See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief representative of the old, and founder of See also:

• POLITICAL

political, See also:

• COMEDY

comedy . Hardly anything is known of his See also:

• LIFE

life, and only fragments of his See also:

• WORKS

works have been preserved . But a See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of their See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character can be gained from the opinions of his contemporaries, especially See also:

• ARISTOPHANES
• ARISTOPHANES (c. 448–385 B.e.1)

Aristophanes . His comedies were chiefly distinguished by their See also:

• DIRECT

direct and vigorous political See also:

• SATIRE (Lat. satira, satura; see below)

satire, a marked exception being the See also:

• BURLESQUE (Ital. burlesco, from burla, a joke, fun, playful trick)

burlesque 'Ohvvveis, dealing with the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story of See also:

• ODYSSEUS (in Latin Ulixes, incorrectly written Ulysses)

Odysseus in the See also:

• CAVE (Lat. cavea, from caves, hollow)
• CAVE, EDWARD (1691–1754)
• CAVE, WILLIAM (1637–1713)

cave of See also:

• POLYPHEMUS

Polyphemus, probably written while a See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law was in force forbidding all political references on the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage . They were also remarkable for the See also:

• ABSENCE (Lat. absentia)

absence of the parabasis and See also:

• CHORUS (Gr. xopbs)Z

chorus . See also:

• PERSIUS

Persius calls the author " the bold," and even See also:

• PERICLES (49o-429 B.C.)

Pericles at the height of his See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power did not See also:

• ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape his vehement attacks, as in the See also:

• NEMESIS

Nemesis and Archilochi, the last-named a lament for the loss of the recently deceased See also:

• CIMON [Kiµwp] (c. 507-449)

Cimon, with whose conservative sentiments See also:

• CRATINUS (c. 520—423 B.C.)

Cratinus was in sympathy . The Panoptae was a satire on the See also:

• SOPHISTS (from Gr. codtoris, literally, man of wisdom)

sophists and omniscient speculative philosophers of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day . Of his last comedy the See also:

• PLOT
• PLOT, ROBERT (164o-1696)

plot has come down to us . It was occasioned by the sneers of Aristophanes and others, who declared that he was no better than a doting drunkard . Roused by the taunt, Cratinus put forth all his strength, and in 423 B.C. produced the Hvrfvrl, or See also:

• BOTTLE (Fr. bouteille, from a diminutive of the Lat. butta, a flask; cf. Eng. " butt ")

Bottle, which gained the first See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize over the Clouds of Aristophanes . In this comedy, good-humouredly making fun of his own weakness, Cratinus represents the comic muse as the faithful wife of his youth . His guilty fondness for a See also:

• RIVAL

rival—the bottle—has aroused her See also:

• JEALOUSY (adapted from Fr. jalousie, formed from jaloux, jealous, Low Lat. zelosus, Gr. j'i os, ardour, zeal, from the root seen in '&u', to boil, ferment; cf. " yeast ")

jealousy .

She demands a See also:

• DIVORCE

divorce from the See also:

• ARCHON (apywv, ruler)

archon; but her See also:

• HUSBAND

husband's love is not dead and he returns penitent to her See also:

• SIDE
• SIDE (mod. Eski Adalia)

side . In Grenfell and See also:

• HUNT, ALFRED WILLIAM (183o-1896)
• HUNT, HENRY (1i73-1835)
• HUNT, HENRY JACKSON (1819-1889)
• HUNT, JAMES HENRY LEIGH (1784-1859)
• HUNT, ROBERT (1807-1887)
• HUNT, THOMAS STERRY (1826-1892)
• HUNT, WILLIAM HENRY (1790—1864)
• HUNT, WILLIAM HOLMAN (1827-1910)
• HUNT, WILLIAM MORRIS (1824-1879)

Hunt's Oxyrhynchus Papyri, iv . (1904), containing a further See also:

• INSTALMENT (for earlier stallment or estallment, from Fr. estaler, to fix, arrange; the change is probably due to the influence of the verb " install ")

instalment of their edition of the Behnesa papyri discovered by them in 1896-1897, one of the greatest curiosities is a scrap of See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper bearing the See also:

• ARGUMENT

argument of a See also:

• PLAY

play by Cratinus,—the Dionysalexandros (i.e . See also:

• DIONYSUS (probably = " son of Zeus," from & Os and vv(7os, a Thracian word for " son ")

Dionysus in the See also:

• PART

part of See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris), aimed against Pericles; and the See also:

• EPITOME
• EPITOME (Gr. lircroui, from isrLTEµveW, to cut short)

epitome reveals something of its wit and point . The See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of Cratinus has been likened to that of See also:

• AESCHYLUS (525–456 B.c.)

Aeschylus; and Aristophanes, in the Knights, compares him to a rushing torrent . He appears to have been fond of lofty diction and bold figures, and was most successful in the lyrical parts of his dramas, his choruses being the popular festal songs of his day . According to the statement of a doubtful authority, which is not See also:

• BORNE, KARL LUDWIG (1786–1837)

borne out by See also:

• ARISTOTLE
• ARISTOTLE (384-322 B.C.)

Aristotle, Cratinus increased the number of actors in comedy to three . He wrote 21 comedies and gained the prize nine times . Fragments in See also:

• MEINEKE, JOHANN ALBRECHT FRIEDRICH AUGUST (1790-1870)

Meineke, Fragmenta Comicorum Graecorum, or See also:

• KOCK, CHARLES PAUL DE (1793-1871)

Kock, Comicorum Atticorum fragmenta . A younger Cratinus flourished in the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander the See also:

• GREAT

Great . It is considered that some of the comedies ascribed'to the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder Cratinus were really the See also:

• WORK

work of the younger .