A revival of interest in the Attic dialect may have been responsible for the recovery and circulation of Aristophanes' plays during the fourth and fifth centuries AD, resulting in their survival today. In Aristophanes' plays, the Attic dialect is couched in verse and his plays can be appreciated for their poetic qualities. For Aristophanes' contemporaries the works of Homer and Hesiod formed the cornerstones of Hellenic history and culture. Thus poetry had a moral and social significance that made it an inevitable topic of comic satire. Aristophanes was very conscious of literary fashions and traditions and his plays feature numerous references to other poets. These include not only rival comic dramatists such as Eupolis and Hermippus and predecessors such as Magnes, Crates and Cratinus, but also tragedians, notably Aeschylus, Sophocles and Euripides, all three of whom are mentioned in e.g. The Frogs. Aristophanes was the equal of these great tragedians in his subtle use of lyrics. He appears to have modelled his approach to language on that of Euripides in particular, so much so that the comic dramatist Cratinus labelled him a 'Euripidaristophanist' addicted to hair-splitting niceties. A full appreciation of Aristophanes' plays requires an understanding of the poetic forms he employed with virtuoso skill, and of their different rhythms and associations. There were three broad poetic forms: iambic dialogue, tetrameter verses and lyrics: Iambic dialogue: Aristophanes achieves an effect resembling natural speech through the use of the iambic trimeter (corresponding to the effects achieved by English poets such as Shakespeare using iambic pentameters). His realistic use of the meter makes it ideal for both dialogue and soliloquy, as for instance in the prologue, before the arrival of the Chorus, when the audience is introduced to the main issues in the plot. The Acharnians opens with these three lines by the hero, Dikaiopolis (rendered here in English as iambic pentameters): How many are the things that vex my heart! Pleasures are few, so very few – just four – But stressful things are manysandthousandsandheaps! Here Aristophanes employs a frequent device, arranging the syntax so that the final word in a line comes as a comic climax. The hero's pleasures are so few he can number them (, four) but his causes for complaint are so many they beggar numerical description and he must invent his own word for them (, literally "sandhundredheaps", here paraphrased "manysandthousandsandheaps"). The use of invented compound