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,”