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Batrachomyomachia.

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helmets, and long needles for spears. The frogs have leaves of willow on their legs, cabbage leaves for shields, cockle-shells for helmets, and bulrushes for spears. Their names are suggestive, as in a modern pantomime. Among the mice we have Crumb-stealer, Cheese-scooper, and Lick-dish; among the frogs, Puff-cheeks, Loud-croaker, Muddyman, Lovemarsh, &c.

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PART II.

GREEK HUMOUR.

Birth of Humour-Personalities-Story of HippocleidesOrigin of Comedy-Archilochus-Hipponax-Democritus, the Laughing Philosopher-Aristophanes-Humour of the Senses-Indelicacy-Enfeeblement of the DramaHumorous Games-Parasites, their Position and Jests -Philoxenus-Diogenes-Court of Humour-Riddles—

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very considerable period elapsed before any progress was made in advance of the ludicrous, but at length by those who appreciated it strongly, and saw it in things in which it did not appear to others, humorous devices were invented from a growing desire to multiply the occasions for enjoyment. Observation and our power of imitation provided the means, and men of humour employed themselves in reproducing some ludicrous situations; and thus, instead of things derided being as previously wholly separate from those who derided them, a man could laugh, and yet be the cause

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of laughter to others. This discovery was soon improved upon, and by aid of imagination and memory, as opportunities offered, certain connections and appearances were represented under a great variety of forms. As the mind enlarged, the exciting causes of laughter were not mainly physical or emotional, but assumed a higher and more rational character.

At the period at which we have now arrived, we find humour dawning through various channels. We have traced approximations towards it in proverbs and fables, and, in a coarse form, in practical jokes; and as from historical evidences we are ready to admit that civilization had an Eastern origin, so we shall feel little difficulty in assigning Greece as the birthplace of humour. A greater activity of mind now begins to prevail, reflection has gradually given distinctness to emotion, and the ludicrous is not only recognised as a source of pleasure, but intentionally represented in literature.

Before the time of Æsop, though not perhaps of his fables, Homer related a few laughable occurrences of so simple a character as to require little ingenuity. In this respect he is not much better than a man who recounts some absurd incident he has witnessed without adding sufficient to it to show that he has a humorous imagination. His mirth, except

when merely that of pleasure, is of the old hostile character. In Iliad, xi, 378, Paris, having hit Diomed, from behind a pillar with an arrow in the foot, springs forth from his concealment and laughs at him, saying he wished he had killed him. In Iliad, xxi, 407, where the gods descend into the battle, Minerva laughs at Mars when she has struck him with a huge stone so that he fell, his hair was draggled in the dust, and his armour clanged around him. In the Odyssey, Ulysses speaks of his heart laughing within him after he had put out Polyphemus' eye with a burning stick without being discovered. And in Book xviii, Ulysses strikes Irus under the ear and breaks his head, so that blood pours from his mouth, and he falls gnashing and struggling on the ground, at which, we are told, the suitors "die with laughter."

From this hostile phase the transition was easy to ridiculing personal defects, and so Homer tells us that when the gods at their banquet saw Vulcan, who was acting as butler, "stumping about on his lame leg," they fell into unextinguishable laughter."

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Thersites is described as "squint-eyed, lamelegged, with bent shoulders pinched over his chest, a pointed head, and very little hair on it." Homer may merely have intended to represent

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the reviler of kings as odious and despicable, but there seems to be some humour intended. Ridicule of personal defects must always be of an inferior kind, being a matter of sight, and of small complexity. As the first advance of the ludicrous was from the hostile to the personal, so the beginning of humour seems to have been the representation of personal defects.*

In accordance with this, we find that the only mention of laughter made by Simonides of Amorgos is where he says that some women may be compared to apes, and then gives a very rude description of their persons. This subservience to the eye can also be observed in the appreciation of monkeys and dancing horses, already mentioned, the latter forming a humorous exhibition, as the animals were trained with a view to amuse. We have marks of the same optical tendencies in the appreciation of antics and contortions of the body, either as representing personal deformity, or as a kind of puzzling and disorderly action. A little con

* I cannot see in Homer any of that philosophic satire on the condition of mortals, which some have found in those passages where men are represented as being deceived and tricked by the gods. Anything so deep would be beyond humour. He very probably conceived that the gods, whom he represented as similar to men, were sometimes not above playing severe practical jokes on them. The so-called irony of Sophocles in like manner, is too philosophical and bitter for humour.

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