Oraque corticibus sumunt horrenda cavatis:
Et te, Bacche, vocant per carmina læta, tibique
Oscilla ex altâ suspendunt mollia pinu[395].”
These festivals had usually the double purpose of worship and recreation; and accordingly the verses often digressed from the praises of Bacchus to mutual taunts and railleries, like those in Virgil’s third eclogue, on the various defects and vices of the speakers.
Such rude lines, originally sung or recited in the Tuscan and Latian villages, at nuptials or religious festivals, were first [pg 237]introduced at Rome by Histrions, who, as already mentioned, were summoned from Etruria, in order to allay the pestilence which was depopulating the city. These Histrions being mounted on a stage, like our mountebanks, performed a sort of ballet, by dancing and gesticulating to the sound of musical instruments. The Roman youth thus learned to imitate their gestures and music, which they accompanied with railing verses delivered in extemporary dialogue.
The jeering, however, which had been at first confined to inoffensive raillery, at length exceeded the bounds of moderation, and the peace of private families was invaded by the unrestrained license of personal invective:—
“Libertasque recurrentes accepta per annos
Lusit amabiliter, donec jam sævus apertam
In rabiem cœpit verti jocus; et per honestas
Ire domos impune minax; doluere cruento