The people had been accustomed to see the most eminent Athenian statesmen and generals brought forward there and placed in a ludicrous light; but it had never yet beheld its own image set before its eyes as in a mirror, which reflected the principal features of its character, not indeed without the exaggeration which belonged to the occasion, but yet with a truth which could not be mistaken or evaded. This was done in the same play which exposed Cleon’s impudence and rapacity; and the follies and faults of the assembled multitude, which appears under its proper name of Demos, as an old dotard, not void of cunning, though incapable of governing himself, are placed in the strongest relief by the presence of its unworthy favourite, who is introduced, not indeed by name, but so as to be immediately recognised, as a lying, thievish, greedy, fawning, Paphlagonian slave. The poet’s boldness was so far successful, that instead of offending the audience he gained the first prize: but in every other respect he failed of attaining his object; for Cleon, as we have seen, maintained his influence unimpaired to the end of his life, and the people showed as little disposition to reform its habits, and change its measures, as if the portrait it had seen of itself had been no less amiable than diverting. But the issue of this attempt did not deter him from another, which, but for the applause which had crowned the first, might have appeared equally dangerous. As in the _Knights_ he had levelled his satire against the sovereign assembly; in the _Wasps_, which he exhibited in the year before Cleon’s death, he attacked the other stronghold of his power, the courts of justice, with still keener ridicule.