The origin of the Indian Drama—Aryan Mythology—Clown and Columbine—Origin of the Chinese Drama—Inception of the Japanese Drama—The Siamese Drama—Dramatic performances of the South Sea Islanders, Peruvians, Aztecs, Zulus, and Fijis—The Egyptian Drama
"Dancing," i.e. Pantomime—Grecian Dancing and Pantomimic Scenes—Aristotle—Homer—Dances common to both Greeks and Romans
Thespis—The Progress of Tragedy and Comedy—Aeschylus—The Epopée—Homer—Sophocles—Euripides—Grecian Mimes—The First Athenian Theatre—Scenery and Effects
Roman Theatres—Description—"Deadheads"—Pantomime in Italy—Livius Andronicus—Fabulae Atellanae—Extemporal Comedy—Origin of the Masque, Opera, and Vaudeville—Origin of the term Histrionic—Etruscans—Popularity of Pantomime in Italy—Pantomimists banished by Trajan—Nero as a Mime—Pylades and Bathyllus—Subjects chosen for the Roman Pantomimes—The Ballet—The Mimi and Pantomimi—Archimimus—Vespasian—Harlequin—"Mr. Punch"—Zany, how the word originated—Ancient Masks—Lucian, Cassiodorus, and Demetrius in praise of Pantomime—A celebrated Mima—Pantomimes denounced by early writers—The purity of the English stage contrasted with that of the Grecian and Roman—Female parts on the Grecian and Roman stages—The principal Roman Mimas—The origin of the Clown of the early English Drama
Introduction of the Roman Pantomimic Art into Britain—First English reference to the word Pantomime—The fall of the Roman Empire—The sacred play—Cornish Amphitheatres—Pantomimical and Lyrical elements in the sacrifice of the Mass—Christian banishment of the Mimis—Penalties imposed by the Church—St. Anthony on Harlequin and Punch—Vandenhoff—what we owe to the Mimis