Menander, Philemon and others, dominated the stage of the fourth and third centuries.
Euripides had united two tendencies: on the one hand he had moved towards freedom in metre, realism in character-drawing, variety and adventure in the realm of plot; on the other he had strongly maintained the formal and musical character of the old Dionysiac ritual, making full use of such conventions as the Prologue, the Epiphany, the traditional tragic diction, and above all the Chorus. The New Comedy dropped the chorus, brought the diction close to real life, broke up the stiff forms and revelled in romance, variety, and adventure. Its characters ceased to be legendary Kings and Queens; they became fictional characters from ordinary city life.
The Iphigenîa in Aulis shows an unfinished Euripidean tragedy, much in the manner of the Orestes, completed by a man of some genius whose true ideals were those of modernity and the New Comedy. Two openings of the play are preserved. One is the old stiff Euripidean prologue; the other a fine and vigorous scene of lyric dialogue, which must have suited the taste of the time far better, just as it suits our own. We have early in the play a Messenger; but instead of
