“The extraordinary performance of an extravagant boast, under circumstances unexpectedly favourable, is not more observable in both cases, than the speedy exposure of the inability of both commanders, when subsequently put to the test. The hero of Sphacteria at the head of a brave army in Thrace, with which he did not know what to do[82] next, like a chess–player who does not see his next move, is absolutely ludicrous. The conduct of the conqueror of Porto Bello, when intrusted with a powerful fleet on a larger field of action, is equally decisive of his real merits. He failed most miserably as admiral on the West India station; thus showing that a _coup de main_, whether in politics or war, though it often succeed most signally, is no safe evidence of general ability.”[83] Fortified as to our facts by the authority of history, we may proceed, after this digression, to develop the chief object of this chapter, which is to give a sketch of one of the most remarkable productions of Greek literature, the ‘Knights’ of Aristophanes, and to exhibit the Aristophanic Cleon, who, even after this preface, will surprise those who are unacquainted with him. We shall not be at a loss to find a parallel for him in our own history. To Cleon and his politics Aristophanes was violently opposed. Much undeserved obloquy has been thrown in times past upon this poet: it is now pretty generally acknowledged that the heaviest charges against him are undeserved: that he saw clearly what were the true interests of his country, and feared not to tell his turbulent countrymen their faults to their face. The medicine indeed required to be disguised to render it palatable, and we must regret that the vehicle employed was such as to render it disgusting to modern delicacy: but the fault of this lay partly in the state of society in which the poet lived; the courage, the clear–sightedness, and the brilliant talent are his own peculiar glory.