With the exception of Shakspeare, all succeeding dramatists have copied the three great Greek tragic poets whom we have just named,--especially Racine, who took Sophocles for his model,--even as the great epic poets of all ages have been indebted to Homer. The Greeks were no less distinguished for comedy than for tragedy. Both tragedy and comedy sprang from feasts in honor of Bacchus; and as the jests and frolics were found misplaced when introduced into grave scenes, a separate province of the drama was formed, and comedy arose. At first it did not derogate from the religious purposes which were at the foundation of the Greek drama; it turned upon parodies in which the adventures of the gods were introduced by way of sport,--as in describing the appetite of Hercules or the cowardice of Bacchus. The comic authors entertained spectators by fantastic and gross displays, by the exhibition of buffoonery and pantomime. But the taste of the Athenians was too severe to relish such entertainments, and comedy passed into ridicule of public men and measures and the fashions of the day. The people loved to see their great men brought down to their own level. Comedy, however, did not flourish until the morals of society were degenerated, and ridicule had become the most effective weapon wherewith to assail prevailing follies. In modern times, comedy reached its culminating point when society was both the most corrupt and the most intellectual,--as in France, when Molière pointed his envenomed shafts against popular vices. In Greece it flourished in the age of Socrates and the Sophists, when there was great bitterness in political parties and an irrepressible desire for novelties. Comedy first made itself felt as a great power in Cratinus, who espoused the side of Cimon against Pericles with great bitterness and vehemence.