"Iniuriarum remedium est oblivio."
"Malum est consilium quod mutari non potest."
"Nunquam periclum sine periclo vincitar."
Horace mentions Laberius not uncomplimentarily, though he professes no interest in the sort of composition he represented. [12] Perhaps he judged him by his audience. Besides these two men, CN. MATIUS (about 44 B.C.) also wrote Mimiambi about the same date. They are described as Mimicae fabulae, versibus plerunque iambicis conscriptae, [13] and appear to have differed in some way from the actual mimes, probably in not being represented on the stage. They reappear in the time of Pliny, whose friend VERGINIUS ROMANUS (he tells us in one of his letters) [14] wrote Mimiambi tenuiter, argute, venuste, et in hoc genere eloquentissime. This shows that for a long tune a certain refinement and elaboration was compatible with the style of Mime writing. [15]
The Pantomimi have been confused with the Mimi; but they differed in being dancers, not actors; they represent the inevitable development of the mimic art, which, as Ovid says in his Tristia, [16] even in its earlier manifestations, enlisted the eye as much as the ear. In Imperial times they almost engrossed the stage. PYLADES and BATHYLLUS are monuments of a depraved taste, which could raise these men to offices of state, and seek their society with such zeal that the emperors were compelled to issue stringent enactments to forbid it. TIGELLIUS seems to have been the first of these effeminati; he is satirised by Horace, [17] but his influence was inappreciable compared with that of his successors. The pantomimus aspired to render the emotions of terror or love more speakingly by gesture than it was possible to do by speech; and ancient critics, while deploring, seem to have admitted this claim. The moral effect of such exhibitions may be imagined. [18]
It is pleasing to find that in Cicero's time the interpretation of the great dramatists' conceptions exercised the talents of several illustrious actors, the two best-known of whom are AESOPUS, the tragedian (l22-54 B.C.), and ROSCIUS, the comic actor (120-61? B.C.), [19] After the exhaustion of dramatic creativeness a period of splendid representation naturally follows. It was so in Germany and England, it was so at Rome. Of the two men, Roscius was the greater master; he was so perfect in his art that his name became a synonym for excellence in any branch. [20] Neither of them, however, embraced, as Garrick did, both departments of the art; their provinces were and always remained distinct. Both had the privilege of Cicero's friendship; both no doubt lent him the benefit of their professional advice. The interchange of hints between an orator and an actor was not unexampled. When Hortensius spoke, Roscius always attended to study his suggestive gestures, and it is told of Cicero himself that he and Roscius strove which could express the higher emotions more perfectly by his art. Roscius was a native of Solonium, a Latin town, his praenomen was Quintus; Aesopus appears to have been a freedman of the Claudia gens. Of other actors few were well-known enough to merit notice. Some imagine DOSSENNUS, mentioned by Horace, [21] to have been an actor; but he is much more likely to be the Fabius Dossennus quoted as an author of Atellanae by Pliny in his Natural History [22] The freedom with which popular actors were allowed to treat their original is shown by Aesopus on one occasion (62 B.C.?) changing the words Brutus qui patriam stabiliverat to Tullius, a change which, falling in with the people's humour at the moment, was vociferously applauded, and gratified Cicero's vanity not a little. [23] Aesopus died soon after (54 B.C.); Roscius did not live so long. His marvellous beauty when a youth is the subject of a fine epigram by Lutatius Catulus, already referred to. [24] Both amassed large fortunes, and lived in princely style.
While the stage was given up to Mimes, cultured men wrote tragedies for their improvement in command of language. Both Cicero and his brother wrought assiduously at these frigid imitations. Caesar followed in their steps; and no doubt the practice was conducive to copiousness and to an effective simulation of passion. Their appearance as orators before the people must have called out such different mental qualities from their cold and calculating intercourse with one another, that tragedy writing as well as declaiming may have been needful to keep themselves ready for an emergency. Cicero, as is well known, tried hard to gain fame as a poet. The ridicule which all ages have lavished on his unhappy efforts has been a severe punishment for his want of self-knowledge. Still, judging from the verses that remain, we cannot deny him the praise of a correct and elegant versateur. Besides several translations from Homer and Euripides scattered through his works, and a few quotations by hostile critics from his epic attempts, [25] we possess a large part of his translation of Aratus's Phaenomena, written, indeed, in his early days, but a graceful specimen of Latin verse, and, as Munro [26] has shown, carefully studied and often imitated by Lucretius. The most noticeable point of metre is his disregard of the final s, no less than thrice in the first ninety lines, a practice which in later life he stigmatised as subrusticum. In other respects his hexameters are a decided advance on those of Ennius in point of smoothness though not of strength. He still affects Greek caesuras which are not suited to the Latin cadence, [27] and his rhythm generally lacks variety.
Caesar's pen was nearly as prolific. He wrote besides an Oedipus a poem called Laudes Herculis, and a metrical account of a journey into Spain called Iter. [28] Sportive effusions on various plants are attributed to him by Pliny. [29] All these Augustus wisely refused to publish; but there remain two excellent epigrams, one on Terence, already alluded to, which is undoubtedly genuine, [30] the other probably so, though others ascribe it to Germanicus or Domitian. [31] But the rhythm, purity of language, and continuous structure of the couplets seem to point indisputably to an earlier age. It is as follows—
"Thrax puer, astricto glacie dum ludit in Hebro,
Frigore concretas pondere rupit aquas.
Quumque imae partes rapido traherentur ab amne,
Abscidit, heu! tenerum lubrica testa caput.
Orba quod inventum mater dum conderet urna,
'Hoc peperi flammis, cetera,' dixit, 'aquis.'"
This is evidently a study from the Greek, probably from an Alexandrine writer.