LABERIUS.
In earlier periods, as has been already mentioned, the writer was also the chief representer of the Mime. Laberius, however, was not originally an actor, but a Roman knight of respectable family and character, who occasionally amused himself with the composition of these farcical productions. He was at length requested by Julius Cæsar to appear on the stage after he had reached the age of sixty, and act the Mimes, which he had sketched or written[546]. Aware that the entreaties of a perpetual dictator are nearly equivalent to commands, he reluctantly complied; but in the prologue to the first piece which he acted, he complained bitterly to the audience of the degradation to which he had been subjected—
“Ego, bis trecenis annis actis, sine notâ,
Eques Romanus lare egressus meo,
Domum revertar Mimus. Nimirum hoc die
Uno plus vixi mihi, quàm vivendum fuit.
Fortuna, immoderata in bono æque atque in malo,
Si tibi erat libitum, literarum laudibus
Floris cacumen nostræ famæ frangere,
Cur cum vigebam membris præ viridantibus,
Satisfacere populo, et tali cum poteram viro,
Non flexibilem me concurvàsti ut caperes?
Nunc me quo dejicis? quid ad scenam affero,
Decorem formæ, an dignitatem corporis?
Animi virtutem, an vocis jucundæ sonum?
Ut hedera serpens vires arboreas necat;
Ita me vetustas amplexu annorum enecat[547].”
The whole prologue, consisting of twenty-nine lines, which have been preserved by Macrobius, is written in a fine vein of poetry, and with all the high spirit of a Roman citizen. It breathes in every verse the most bitter and indignant feelings of wounded pride, and highly exalts our opinion of the man, who, yielding to an irresistible power, preserved his dignity while performing a part which he despised. It is difficult to conceive how, in this frame of mind, he could assume the jocund and unrestrained gaiety of a Mime, or how the Roman people could relish so painful a spectacle. He is said, however, to have represented the feigned character with inimitable grace and spirit. But in the course of his performance he could not refrain from expressing strong sentiments of freedom and detestation of tyranny. In one of the scenes he personated a Syrian slave; and, while escaping from the lash of his master, he exclaimed,
“Porro, Quirites, libertatem perdidimus;”
and shortly after, he added,
“Necesse est multos timeat, quem multi timent,”
on which the whole audience turned their eyes to Cæsar, who was present in the theatre[548].
It was not merely to entertain the people, who would have been as well amused with the representation of any other actor; nor to wound the private feelings of Laberius, that Cæsar forced him on the stage. His sole object was to degrade the Roman knighthood, to subdue their spirit of independence and honour, and to strike the people with a sense of his unlimited sway. This policy formed part of the same system which afterwards led him to persuade a senator to combat among the ranks of gladiators. The practice introduced by Cæsar became frequent during the reigns of his successors; and in the time of Domitian, the Fabii and Mamerci acted as planipedes, the lowest class of buffoons, who, barefooted and smeared with soot, capered about the stage in the intervals of the play for the amusement of the rabble!
Though Laberius complied with the wishes of Cæsar, in exhibiting himself on the stage, and acquitted himself with ability as a mimetic actor, it would appear that the Dictator had been hurt and offended by the freedoms which he used in the course of the representation, and either on this or some subsequent occasion bestowed the dramatic crown on a Syrian slave, in preference to the Roman knight. Laberius submitted with good grace to this fresh humiliation; he pretended to regard it merely as the ordinary chance of theatric competition, as he expressed to the audience in the following lines:—
“Non possunt primi esse omnes omni in tempore.
Summum ad gradum cum claritatis veneris,
Consistes ægre: et citius quam ascendas, decides.
Cecidi ego—cadet qui sequitur[549].” ——
Laberius did not long survive this double mortification: he retired from Rome, and died at Puteoli about ten months after the assassination of Cæsar[550].
The titles and a few fragments of forty-three of the Mimes of Laberius are still extant; but, excepting the prologue, these remains are too inconsiderable and detached to enable us to judge of their subject or merits. It would appear that he occasionally dramatized the passing follies or absurd oc[pg 331]currences of the day: for Cicero, writing to the lawyer Trebonius, who expected to accompany Cæsar from Gaul to Britain, tells him he had best return to Rome quickly, as a longer pursuit to no purpose would be so ridiculous a circumstance, that it would hardly escape the drollery of that arch fellow Laberius; and what a burlesque character, he continues, would a British lawyer furnish out for the Roman stage[551]! The only passage of sufficient length in connection to give us any idea of his manner, is a whimsical application of a story concerning the manner in which Democritus put out his eyes—
“Democritus Abderites, physicus philosophus,
Clypeum constituit contra exortum Hyperionis;
Oculos effodere ut posset splendore æreo.
Ita, radiis solis aciem effodit luminis,
Malis bene esse ne videret civibus.
Sic ego, fulgentis splendore pecuniæ,
Volo elucificare exitum ætatis meæ,
Ne in re bonâ esse videam nequam filium[552].”
According to Aulus Gellius, Laberius has taken too much license in inventing words; and that author also gives various examples of his use of obsolete expressions, or such as were employed only by the lowest dregs of the people[553]. Horace seems to have considered an admiration of the Mimes of Laberius as the consummation of critical folly[554]. I am far, however, from considering Horace as an infallible judge of true poetical excellence. He evidently attached more importance to correctness and terseness of style, than to originality of genius or fertility of invention. I am convinced he would not have admired Shakspeare: He would have considered Addison and Pope as much finer poets, and would have included Falstaff, and Autolycus, and Sir Toby Belch, the clowns and the boasters of our great dramatist, in the same censure which he bestows on the Plautinos sales and the Mimes [pg 332]of Laberius. Probably, too, the freedom of the prologue, and other passages of his dramas, contributed to draw down the disapprobation of this Augustan critic, as it already had placed the dramatic wreath on the brow of