The vehicles in which Aristophanes conveyed his political lessons, strange as they appear to us, were probably judiciously chosen, as well with the view of pointing the attention of the audience more forcibly to his practical object, as of relieving the severity of his admonitions and censures. As time has spared only a few fragments of the earlier and the contemporary productions of the comic drama, it is only from the report of the ancient critics that we can form any notion of the relation in which he stood to his theatrical competitors. He is said not only to have introduced several improvements in the structure of the old political comedy, by which he brought it to its highest perfection, but to have tempered the bitterness and the grossness of his elder rival Cratinus, who is described as the comic Æschylus. It is not quite clear in what sense this account is to be understood, for it is difficult to conceive that the satire of Cratinus can have been either freer or more licentious. But the difference seems to have consisted in the inimitable grace with which Aristophanes handled every subject which he touched. We are informed, indeed, that even in this quality he was surpassed by Eupolis, who is also said to have shown more vigour of imagination in the invention of his plots. Yet another account represents Eupolis as more nearly resembling Cratinus in the violence and homeliness of his invectives; and the testimony of the philosopher Plato, who in an epitaph called the soul of Aristophanes a sanctuary of the Graces, studied his works as a model of style for the composition of his own dialogues, and honoured him with a place in one of his masterpieces, seems sufficient to prove that at least in the elegance of his taste, and the gracefulness of his humour, he had no equal.