Lucian and the other writers of the Augustan era, have handed down to us sufficient information to show how Pantomime in Rome was so highly thought of. Cassiodorous, speaking of them, says:—"Men whose eloquent hands had a tongue, as it were, on the tip of each finger—men who spoke while they were silent, and knew how to make a recital without opening their mouths—men, in short, whom Polyhymnia had formed in order to show that there was no necessity for articulation in order to convey our thoughts." Demetrius, a cynic philosopher, laughed at the Romans for permitting so strange an entertainment; but having been, with much difficulty, prevailed upon to be present at the representation of one of them, he was confounded with wonder. The story represented was that of Mars and Venus, the whole performed by a single actor, who described the fable in dumb show. At length the philosopher, wrought up to the highest pitch of admiration, exclaimed, "That the actor had no occasion for a tongue, he spoke so well with his hands."
Of one Pontus, who had come on a visit to Nero, we are told that he was present at a performance, in the course of which a favourite Mime gave a representation of the Labours of Hercules. The Mime's gestures were so precise that he could follow the action without the slightest hesitation. Being struck by the performance, on taking leave he begged Nero to give him the actor, explaining that there was a barbarous tribe adjoining his dominions, whose language no one could learn, and that Pantomime could express his intentions to them so faithfully by gestures that they would at once understand.
The dress of the performers of Pantomime was made to reveal, and not to conceal, their figures. After the second century women began to act in their representations, and even down to the sixth century we find them associating themselves with Pantomime, and mention is made of a celebrated Mima, who was ultimately raised to the imperial throne. Through the lewdness of the Mimis and mimas in Pantomime, their dress, or rather lack of dress, Pantomimes were denounced, not only by the early Christian writers, but also by some of the Pagan writers, like Juvenal, as being very prejudicial to morality.
It has, however, always been a favourite topic of the Prynne's, the Jeremy Collier's and the Dr. Style's, and such like opponents of the theatre, to contrast the English stage with the purity of the Grecian and Roman Theatres. Now, without stopping to enquire whether this has any particular connection with the subject of their dissertations, or whether it is not in fact quite irrelevant to the question, it is impossible not to remark the crass ignorance which these assertions display of the manners and customs of the theatres of either the Greeks or the Romans. Without wearying the reader by entering into a long discussion upon the subject, it will be sufficient to recall certain passages in Aristophanes, Xenophon, Plautus, and Terence to induce them to hesitate in assenting to such vague assertions of the purity of either the Grecian or Roman dramatic writers. William Prynne, the English Puritan writer, in his violent attack on the stage in the "Histrio-Mastix" or "Players Scourge"—which book, by the way, for some unfavourable comments therein on the Queen of Charles I., and the ladies of her Court, for attending theatrical representations, was debarred his rooms (he was a barrister), by the Court of Star Chamber, sentenced to be imprisoned for life, fined £5,000, committed to the Tower, placed in the pillory, both ears cut off, and his book burnt by the common hangman; yet after undergoing all these pains and penalties, he published a recantation of all that he had previously written in his "Histrio-Mastix"—says "It seems that the Grecian actors did now and then to refresh the spectators, bring a kind of cisterne on the stage, wherein naked women did swim and bathe themselves between the acts and scenes; which wicked, impudent, and execrable practice the holy father Chrysostom doth sharpely and excellently declaime against."
Xenophon mentions the tale of "Bacchus and Ariadne," Pantomimically played, and Martial tells us he saw the whole story of "Pasiphae," minutely represented on the stage of the Mimis, and Plautus, in his epilogue to "Casina," has—
"Nunc vos aequim est, manibus meritis,
Meritam mercedem dare.
Qui faxit, clam uxorem, ducat scortum
Semper quod volet.
Verum qui non manibus clare, quantum
Potent, plauserit,
Ei, pro scorto, supponetur hircus unctus nantea."
On the Roman stage female parts were represented in tragedy by men, is ascertained (says Malone) by one of Cicero's letters to Atticus, and by a passage in Horace. Horace mentions, however, a female performer called Arbuscula, but as we find from his own authority men personated women on the Roman stage, she was probably an Emboliariae. Servius calls her a Mima, or one who danced in the Pantomimic dances, and which seems more probable, as she is mentioned by Cicero, who says the part of Andromache was played by a male performer on the very day Arbuscula also performed.
The principal Roman Mimas were:—Arbuscula, Thymele, Licilia, Dionysia, Cytheris, Valeria, and Cloppia.
In the satirical interludes of the Grecian stage, and the Fabulae Atellanae of the Roman theatres, the Exodiarii and Emboliariae of the Mimes, were the remote progenitors (says Malone) of the Vice or Devil, and the Clown of our English Mystery plays, the latter series of plays being the origin of the drama of this country. The exact conformity between our Clown and the Exodiarii and Emboliariae of the Roman stage is ascertained by that passage in Pliny—"Lucceia Mima centum annis in scena pronuntiavit. Galeria, Copiola, Emboliariae, reducta est in scenam: annum certissimum quartum agens," is thus translated by an English author, Philemon Holland, "Lucceia, a common Vice in a play, followed the stage, and acted thereupon 100 yeeres. Such another Vice that plaied the foole, and made sporte between whiles in interludes, named Galeria Copiola, was brought to act upon the stage when she was in the 104th yeere of her age." We shall, in another chapter, return to the Vice, or Clown.