Flogel, in his German _History of Comic Literature_, attempts to show, at considerable length, that Casaubon has attributed too much to the derivation of the word satire; since, though the term may be of Latin origin, it does not follow that the thing was unknown to the Greeks,—and that he also relies too much on the argument, that the satiric plays of the Greeks were quite different from the satire of the Romans, which may be true; while, at the same time, there are other sorts of Greek compositions, as the lyric satires of Archilochus and the _Silli_, which have a much nearer resemblance to the Latin didactic satire than any satirical drama. In fact, the whole question seems to depend on what constitutes a sufficient alteration or variety from former compositions, to give a claim to invention. Now it certainly cannot be pretended, so far as we know, that _any_ satiric productions of the Greeks had much resemblance to those of the Romans. The Greek satires, which are improperly so termed, were divided into what were called tragic and comic. The former were dramatic compositions, which had their commencement, like the regular tragedy, in rustic festivals to the honour of Bacchus; and in which, characters representing Satyrs, the supposed companions of that god, were introduced, imitating the coarse songs and fantastic dances of rural deities. In their rude origin, it is probable that only one actor, equipped as a Satyr, danced or sung. Soon, however, a chorus appeared, consisting of the bearded and beardless Satyrs, Silenus, and Pappo Silenus; and Histrions, representing heroic characters, were afterwards introduced. The satiric drama began to flourish when the regular tragedy had become too refined to admit of a chorus, or accompaniment of Satyrs, but while these were still remembered with a sort of fondness, which rendered it natural to recur to the most ancient shape of the drama. In this state of the progress of the Greek stage, the satire was performed separately from the tragedy; and out of respect to the original form of tragedy, was often exhibited as a continuation or parody of the tragic _trilogy_, or three serious plays,—thus completing what was called the _tetralogia_. The scene of these satires was laid in the country, amid woods, caves, and mountains, or other such places as Satyrs were supposed to inhabit; and the subjects chosen were those in which Satyrs might naturally be feigned to have had a share or interest. High mythological stories and fabulous heroes were introduced, as appears from the names preserved by Casaubon, who mentions the _Hercules_ of Astydamas, the _Alcmæon_ and _Vulcan_ of Achæus,—each of which is denominated σατυρικος. These heroic characters, however, were generally parodied, and rendered fantastic, by the gross railleries of Silenus and the Fauns. The _Cyclops_ of Euripides, which turns on the story of Ulysses in the cave of Polyphemus, is the only example entirely