Plutarch Comparationis Aristophanis et Menandri compendium 3

[3] Some dramatists write for the common people, and others for the few, but it is not easy to say which of them all is capable of adapting his work to both classes. Now Aristophanes is neither pleasing to the many nor endurable to the thoughtful, but his poetry is like a harlot who has passed her prime and then takes up the role of a wife, whose presumption the many cannot endure and whose licentiousness and malice the dignified abominate. But Menander, along with his charm, shows himself above all satisfying. He has made his poetry, of all the beautiful works Greece has produced, the most generally accepted subject in theatres, in discussions, and at banquets, for readings, for instruction, and for dramatic competitions. For he shows, indeed, what the essence and nature of skill in the use of language really are, approaching all subjects with a persuasiveness from which there is no escape, and controlling every sound and meaning which the Greek language affords. For what reason, in fact, is it truly worth while for an educated man to go to the theatre, except to enjoy Menander? And when else are theatres filled with men of learning, if a comic character has been brought upon the stage? ¹ And at banquets for whom is it more proper for the festive board to yield its place and for Dionysus to waive his rights ² ? And just as painters, when their eyes are tired, turn to the colours of flowers and grass, so to philosophers and men of learning Menander is a rest from their concentrated and intense studies, inviting the mind, as it were, to a meadow flowery, shady, and full of breezes.

[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.