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Some of the earliest jokes recorded appear to be about political satire, drunken behavior, and sex. These jokes come from Egypt, where a scroll dated to 2600 BCE might contain discusses these jokestopics in a more light-hearted way. However, some state that this scroll derives from a later period, perhaps around 1600 BCE. Mesopotamia also has some of the earliest jokes, perhaps about the same time in Egypt, where the earliest jokes seem to deal with flatulence. One of the earliest comedic stories known to us may not have been performed to the masses but seems to have been written for some audience or at least a likely larger group of people, making it one of the more complete early stories or even a playfor performance. This story is called the <i>Poor Man of Nippur</i>, written in Nippur from ancient Mesopotamia sometime around 1500 BCE or possibly earlier. The story effectively tells the tale of a poor man who got thrown out from the Mayormayor's office and being humiliated by the mayor. Three In revenge, three times the man deceives the mayor and beats him, with the last time beating him to death. While the end might not seem so funny, the comedy is in the way fact that someone who is supposed to be uncouth is able to deceive the supposedly smart city ruler. The man wears different disguises to trick the mayor, once even making money by tricking the mayor to think he had stolen gold from the poor manby fining the mayor, who as the poor man was disguised as a visiting foreign emissary. The story effectively reflects political satire, where supposedly enlightened rulers are not really that enlightened.<ref>For more on comedy in Mesopotamia and Egypt, see: Attardo, S., & Sage Publications. (2014). <i>Encyclopedia of humor studies</i>. Retrieved from http://public.eblib.com/choice/publicfullrecord.aspx?p=1647783. See pg. 69. </ref>

While Egypt and Mesopotamia likely produced some early organized comedic plays or stories, the best known tend to be those from ancient Greece. The Greeks formalized their plays into satire, tragedy, and comedy. Similar to Mesopotamia and Egypt, sex and political satire are the subjects for early Greek comedy comedies by Aristophanes, who perhaps is one of the earliest known authors of comedy known to us, who lived around 400 BC and lived in Athens. He was also very active in writing comedy, writing perhaps more than 40 comedies, of which 11 have survived. Aristotle philosophized that Greek comedy originated from what normally would have been solemn or otherwise crass or obscure religious festivals such as phallic processingprocessions in celebrating Dionysus, which led people to make fun of such acts or satirize them at least. Aristotle also helped formalize comedy as legitimate literature and he defined it as a positive benefit to society. In fact, he stated comedy did not have to be crass but good-natured comedy could be positive to society and bring general happiness to the wider public and provide a public good.<ref>For more on Greek comedy, see: Griffith, R. D., & Marks, R. B. (2011). <i>A funny thing happened on the way to the agora: ancient Greek and Roman humour : agora harder!</i> Legacy Books Press.</ref>

Greek theater had begun to develop in the early first millennium BCE, whereby in the Roman period it had become the foundation in which Roman society developed their own understanding of entertainment. Titus Maccius Plautus and Publius Terentius Afer are some of the best known Roman comedic writers, who lived in the 3rd-2nd century BC. Most of the content was influenced by Greek subjects but development by these authors and the Romans begin to look more modern to us and, in fact, influenced what we would call modern comedies enacted today in theatre and even television. For one, a key development was telling the story over a series of episodes within the larger story. Music Secondly, music also accompanied the wider acting out of the comedy. In the stories, generally, the character would undergo some trial or tribulation before some comedic way in which the problem could be resolved. Their works also developed key characters in a comedy. This includes a villain, a hero, dual characters who are neither heroic nor villains, the love interest, and others (e.g., slave dealers) that would be satirized or even presented in a stereotype that Roman audiences would quickly identify (Figure 1).<ref>For more on early Roman comedy, see: Marshall, C. W. (2009). <i>The stagecraft and performance of Roman comedy </i>. Cambridge: Cambridge University Press. </ref>