Plutarch Comparationis Aristophanis et Menandri compendium 3

[3] He adds further, that of dramatic exhibitors, some address themselves to the crowd and populace, and others again to a few; but it is a hard matter to say which of them all knew what was befitting in both the kinds. But Aristophanes is neither grateful to the vulgar, nor tolerable to the wise; but it fares with his poesy as it doth with a courtesan who, when she finds she is now stricken and past her prime, counterfeits a sober matron, and then the vulgar cannot endure her affectation, and the better sort abominate her lewdness and wicked nature. But Menander hath with his charms shown himself every way sufficient for satisfaction, being the sole lecture, argument, and dispute at theatres, schools, and at tables; hereby rendering his poesy the most universal ornament that was ever produced by Greece, and showing what and how extraordinary his ability in language was, while he passes every way with an irresistible persuasion, and wins every man’s ear and understanding who has knowledge of the Greek tongue. And for what other reason in truth should a man of parts and erudition be at the pains to frequent the theatre, but for the sake of Menander only? And when are the play-houses better filled with men of letters, than when his comic mask is exhibited? And at private entertainments among friends, for whom doth the table more justly make room or Bacchus give place than for Menander? To philosophers also and hard students (as painters are wont, when they have tired out their eyes at their work, to divert them to certain florid and green colors) Menander is a repose from their auditors and intense thinkings, and entertains their minds with gay shady meadows refreshed with cool and gentle breezes.