He had two competitors in Pratinas and Choerilus.

The last, indeed, preceded Phrynichus, but merely in the burlesques of the rude Thespian stage; the example of Phrynichus had now directed his attention to the new species of drama, but without any remarkable talent for its cultivation.

Pratinas, the contemporary of Aeschylus, did not long attempt to vie with his mighty rival in his own line [12].

Recurring to the old satyr-chorus, he reduced its unmeasured buffooneries into a regular and systematic form; he preserved the mythological tale, and converted it into an artistical burlesque.

This invention, delighting the multitude, as it adapted an ancient entertainment to the new and more critical taste, became so popular that it was usually associated with the graver tragedy; when the last becoming a solemn and gorgeous spectacle, the poet exhibited a trilogy (or three tragedies) to his mighty audience, while the satyric invention of Pratinas closed the whole, and answered the purpose of our modern farce [13].