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Show O N PANTOMIME. 133 NOTES TO PART THE THIRD. 1. Roscius and Esopus were the two greatest actors that Rome ever possessed, the first in the comic line, the second in the tragic. They gave lessons on declamation to Cicero, who always honoured them with his esteem and friendship. Horace also mentions these two performers : - " Qua: gravis Esopus, quce doclus Roscius egit." 2. About this time Rome had fallen into so much licentiousness that the players publicly performed the Adultery of Mars and Venus, with the most obscene gestures and particularities. Suetonius tells us, that under the reign of Nero the infamous loves of Pasiphcc were frequently represented on the stage, and in so natural a manner that many believed the real scene was passing before them : - " Functam Pasiphaiin dictaso credite tauro Vidimus, accepit fabula prisca fidem." MARTIAL. 3. It may be here remarked that both Mimes and Pantomimes were anciently employed in the dance, with this difference, however, that the Mimes, by indecent motions and obscene gesticulations, described vile and ignoble characters only; while, on the contrary, Pantomime described every species of personification ; the actions of the base, and the deeds of the illustrious ; great captains, heroes, and even Gods. See Ger-jo Vossius, istit. Poet. lib. 2. cap. X X X , § 3 et 5. 4. See the learned dissertation of Doctor Zulatti. 5. " Sentiments, mutually communicated, have a reference either to present or distant objects ; or, they relate to internal sensations. When the object is present the eyes are turned to it, while the staff or finger points it out; the body either approaches or shrinks from it; thus forming a kind of dictionary of this mute language. Signs made in this manner may be termed indicative. " When the attention is directed to a distant object, as for instance when a savage would discover some animal to kill it, or would describe another by 9 |
