A History of Pantomime, By R.J.broadbent

8/19/2019 A History of Pantomime, By R.J.broadbent

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A

HISTORY OF PANTOMIME.

BY

R. J. BROADBENT,

Author of "STAGE WHISPERS," etc.

LONDON

1901

TO

WILLIAM WADE, ESQUIRE.

This oo! is eic#te #s # s$#%% to!e& of the Author's estee$ #& re(#r.

R.).*.


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CONTENTS.

PRE+AE

HAPTER I.

Ori(i& of P#&to$i$e

HAPTER II.

Ori(i& of Tr#(e- #& o$e-/-tho%o(-The $e#&i&( of the or P#&to$i$eThe

ori(i& of H#r%eui&, o%u$i&e, %o&, #& P#&t#%oo&Greci#& /-tho%o(-Tr#&sfor$#tio&

Sce&esThe rise of Greci#& Tr#(e- #& o$e-The S#tiric#% Dr#$#

HAPTER III.

The ori(i& of the I&i#& Dr#$#Ar-#& /-tho%o(-%o& #& o%u$i&eOri(i& of the

hi&ese Dr#$#I&ce2tio& of the )#2#&ese Dr#$#The Si#$ese Dr#$#Dr#$#tic 2erfor$#&ces of the South Se# Is%#&ers, Peru3i#&s, A4tecs, 5u%us, #& +i6isThe E(-2ti#&

Dr#$#

HAPTER I7.

"D#&ci&(," i.e. P#&to$i$eGreci#& D#&ci&( #& P#&to$i$ic Sce&esAristot%eHo$er

D#&ces co$$o& to oth Gree!s #& Ro$#&s

HAPTER 7.

Thes2isThe Pro(ress of Tr#(e- #& o$e-Aesch-%usThe E2o28eHo$er

So2hoc%esEuri2iesGreci#& /i$esThe +irst Athe&i#& The#treSce&er- #& Effects

HAPTER 7I.

Ro$#& The#tresDescri2tio&"De#he#s"P#&to$i$e i& It#%-Li3ius A&ro&icus

Fabulae Atellanae Ete$2or#% o$e-Ori(i& of the /#sue, O2er#, #& 7#ue3i%%e

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Ori(i& of the ter$ Histrio&icEtrusc#&sPo2u%#rit- of P#&to$i$e i& It#%-P#&to$i$ists

#&ishe - Tr#6#&Nero #s # /i$eP-%#es #& *#th-%%usSu6ects chose& for the Ro$#&

P#&to$i$esThe *#%%etThe Mimi #& Pantomimi Archimimus 7es2#si#&H#r%eui& "/r. Pu&ch"5#&-, ho the or ori(iteA&cie&t /#s!sLuci#&, #ssioorus, #&

De$etrius i& 2r#ise of P#&to$i$eA ce%er#te Mima P#&to$i$es e&ou&ce - e#r%-

ritersThe 2urit- of the E&(%ish st#(e co&tr#ste ith th#t of the Greci#& #& Ro$#& +e$#%e 2#rts o& the Greci#& #& Ro$#& st#(esThe 2ri&ci2#% Ro$#& Mimas The ori(i& of

the %o& of the e#r%- E&(%ish Dr#$#

HAPTER 7II.

I&trouctio& of the Ro$#& P#&to$i$ic Art i&to *rit#i&+irst E&(%ish refere&ce to the or

P#&to$i$eThe f#%% of the Ro$#& E$2ireThe s#cre 2%#-or&ish A$2hithe#tres

P#&to$i$ic#% #& L-ric#% e%e$e&ts i& the s#crifice of the /#sshristi#& #&ish$e&t of

the Mimis Pe%ties i$2ose - the hurchSt. A&tho&- o& H#r%eui& #& Pu&ch 7#&e&hoffh#t e oe to the Mimis

HAPTER 7III.

P#&to$i$e i& the E&(%ish /-ster- or /ir#c%e P%#-s #& P#(e#&tsA retros2ect of the E#r%-

Dr#$#/-steries o& *i%ic#% e3e&tshester, o3e&tr-, :or!, #& To&e%e- /-ster- P%#-s

P%#-s i& hurchesTr#ces of the /-ster- P%#- i& E&(%#& i& the Ni&etee&th e&tur-/-ster-P%#-s o& the o&ti&e&tThe hester series of P%#-sThe De3i% or %o& #&

the Exodiarii #& Emboliariae of the A&cie&t /i$es

HAPTER I;.

The %o& or +oo% of the e#r%- E&(%ish Dr#$#/or#%itiesThe I&ter%ueThe rise of E&(%ish

Tr#(e- #& o$e-"Du$ Shes" i& the O% P%#-sP%#-s su22resse - E%i4#ethA

retros2ect

HAPTER ;.

The It#%i#& /#sueThe /#sue i& E&(%#&+irst #22e#r#&ce i& this cou&tr- of H#r%eui&

)oe H#i&es #s H#r%eui&/#r%oe's "+#ustus"A urious P%#-The It#%i#& H#r%eui&

o%%e- ier, Pe&!eth$#&Sh#!es2e#re's *ur%esues of the /#sueDec%i&e of the /#sue

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HAPTER ;I.

It#%i#& P#&to$i$eRiccoo&i*roo$'s "A&ti2oes"Gher#riEte$2or#% o$eies

S#%3#tor Ros#I$2ro$2tu Acti&(

HAPTER ;II.

P#&to$i$ic#% h#r#ctersNe#2o%it#& P#&to$i$eThe H#r%eui& +#$i%-The Ori(i%

h#r#cters i& the It#%i#& P#&to$i$ese%er#te H#r%eui&sIt#%i#& #& +re&ch H#r%eui&s A +re&ch 3ie of the E&(%ish %o&Pierrots' ori(i&P#&t#%oo&, ho the $e h#s ee&

eri3eo%u$i&e/#rio&ette #& Pu22et Shos

HAPTER ;III.

It#%i#& Scerios #& E&(%ish "P%#tts"P#&t#%oo&T#r%eto&, the %o&Ete$2or#% o$e-

The Poet /i%to&*e& )o&so&The o$$o&e#%th"A Rei(& of Dr#$#tic Terror"Roert

o #& his "Hu$ours" #& "Dro%%eries"The Restor#tio&

HAPTER ;I7.

I&trouctio& of P#&to$i$es to the E&(%ish St#(eWe#3er's "Histor- of the /i$es #&

P#&to$i$es"We#3er's P#&to$i$esThe 2re6uice #(#i&st P#&to$i$es*ooth's cou&se%

HAPTER ;7.

)oh& Rich #& his P#&to$i$esRich's /i$i&(G#rric!, W#%2o%e, +ooteA&ecotes of Rich

Po2eThe #&ce of i&ter%s i& "H#r%eui& Sorcerer"Drur- L#&eo%%e- ierHe&r-+ie%i&(, the No3e%isto&te$2or#r- Writers' o2i&io& of P#&to$i$eWoo#r, the

H#r%eui&The $e#&i&( of the or ActorH#r%eui&s"Dr. +#ustus," # escri2tio&

Wi%%i#$ Rufus hetooAccie&ts7#&er$ere, the H#r%eui&"Or2heus #& Eur-ice" #to3e&t G#re&A escri2tio&S#$. Hoo%e, the $#chi&istPre6uice #(#i&st P#&to$i$e

/rs. O%fie%Roert Wi%!s/#c!%i&Riot #t Li&co%&'s I&& +ie%s The#treDe#th of Rich

HAPTER ;7I.

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)ose2h Gri$#%i

HAPTER ;7II.

P%ots of the o% for$ of P#&to$i$esA escri2tio& of "H#r%eui& #& the O(ress< or the

S%ee2i&( *e#ut- of the Woo," 2rouce #t o3e&t G#re&Gri$#%i, Père et Fils To$ E%%#r,

the H#r%eui&, #& *#r&es, the P#&t#%oo&A& #ccou&t of the first 2rouctio& of the "House th#t)#c! ui%t," #t o3e&t G#re&S2ect#cu%#r is2%#-A&tiuit- #& Ori(i& of so$e P#&to$i$ic

e3icesDe3oto, A&(e%o, #& +re&ch, the Sce&ic ArtistsTr#&s2#re&cies*e3er%e-

Tr#&sfor$#tio& Sce&es

HAPTER ;7III.

P#&to$i$ic +#$i%iesGiuse22e Gri$#%i)#$es *-r&e, the H#r%eui& #& I&3e&tor of the

$oer& H#r%eui&'s ress)ose2h Gri$#%i, )u&iorThe *o%o( +#$i%-To$ E%%#rTheRi(#-sThe *r#ur-sThe /o&t(o$er-sThe P#-&esThe /#rsh#%%sh#r%es #&

Rich#r Sti%tRich#r +%e$oreTo$ Gr#-The P#u%osDuoisArthur #& h#r%es

Lec%er")i$$-" *#r&es+#$ous P#&t#%oo&s/iss +#rre&/rs. Sio&so%u$i&es Not#%e Actors i& P#&to$i$e

HAPTER ;I;.

Po2u%#r P#&to$i$e su6ectsPoor P#&to$i$e LirettosP#&to$i$e su6ects of our 2ro(e&itorsThe 3#rious 3ersio&s of "A%#i&""The *#es i& the Woo""*%ue

*e#r""*e#ut- #& the *e#st""i&ere%%#""Dic! Whitti&(to&""The House th#t )#c!

*ui%t"")#c! the Gi#&t =i%%er"")#c! #& the *e#&st#%!""Re Rii&(>Hoo""TheS%ee2i&( *e#ut- i& the Woo"?&%uc!- su6ects"A%i *## #& the +ort- Thie3es""The

+#ir O&e ith Go%e& Loc!s"The source of "Si&# the S#i%or" #& "Roi&so& rusoe"

HAPTER ;;.

P#&to$i$e i& A$eric#

HAPTER ;;I.

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P#&to$i$es $#e $ore #ttr#cti3eThe Restricti3e Po%ic- of the P#te&t Houses"/other

Goose" #& "Geor(e *#r&e%%" #t o3e&t G#re&Li3e%- Auie&ces")#&eShore""H#r%eui& P#t #& H#r%eui& *#t""The first s2e#!i&( o2e&i&("Etr#3#(e&ce i&

Etr#3#(#&4#sThe oo$ of the o% for$ of P#&to$i$eIts re3i3#% i& # &e for$A 2iece

of 2ure P#&to$i$ePrese&t #- /i$etic Art" L'Enfant Prodigue"A retros2ectThe o%ith the &e, #& co&c%usio&

PREFACE.

O&e of the $ost i$2ort#&t f#ctors i& the $#!i&( of The#tric#% Histor- h#s ee& th#t of

P#&to$i$e, -et i& $#&- of the 2u%ishe or!s e#%i&( ith the Histor- of the St#(e it h#s, iththe ece2tio& of # 2#ssi&( refere&ce here #& there, ee& $uch &e(%ecte.

It is ith # 3ie of co&3e-i&( to the re#i&( 2u%ic so$e %itt%e, #&, 2erh#2s, &e i&for$#tio&

#out this #&cie&t for$ of e&tert#i&$e&t th#t I #$ te$2te to issue this Histor- of P#&to$i$e i&the ho2e #& e%ief th#t it $#- &ot o&%- 2ro3e i&teresti&(, ut #%so i&structi3e, to #%% %o3ers of the

St#(e.

R.).*.

Li3er2oo%, Dece$er, 1901.

CHAPTER I.

Origin of Pano!i!".

+ro$ the e(i&&i&( of #%% ti$e there h#s ee& i$2%#&te i& the hu$#& re#st the Dr#$#tici&sti&ct fu%% of %ife #& of 3i(our, #& fi&i&( u&oute%- its out%et, i& the e#r%- #-s of

ci3i%i4#tio&, if &ot i& the Dr#$#tic Art the& i& the 2oetr- of $otio& ith th#t &ecess#r- #&

#%#-s esse&ti#% co&co$it#&t of othP#&to$i$e. I&ee, of the Ter2sichore#& Art, it h#s ee&

tru%- oser3e "Th#t e2ri3e of the i$it#ti3e 2ri&ci2%e @ i.e., P#&to$i$e, the stre&(th, the $utee2ressio&, it eco$es &othi&( ut # series of c#e&ce ste2s, i&teresti&( $ere%- #s # (r#cefu%

eercise." Eu#%%- so i& e3er- #- oes it #22%- to the Dr#$#tic Art, hich $i&us its #cti&(, its

(esturesi& # or, its P#&to$i$ee h#3e &othi&( ut, to uote H#$%et, "Wors, ors,ors."


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I& oser3i&( "Th#t #%% the or%'s # st#(e, #& the $e& #& o$e& $ere%- 2%#-ers,"

Sh#!es2e#re out%ess i&c%ue i& the (e&eric ter$ "2%#-ers," P#&to$i$ists #s e%%B Is$uch #s

this, th#t he&, #& here3er # ch#r#cter is 2ortr#-e, or re2rese&te, e it i& re#% %ife or o& thest#(e"N#ture's %oo!i&(>(%#ss," #& the or% i& $i&i#turethe ors th#t the i&i3iu#% or the

ch#r#cter s2e#!s, #re #cco$2#&ie ith (esture #& $otio&, or, i& other ors, P#&to$i$e,

he& "The #ctio& is suite to the or, the or to the #ctio&."

To tr#ce the ori(i% ori(i& of P#&to$i$e, or /i$icr-, e $ust (o to N#ture herse%f here ec#& fi& this 2r#ctise - her fro$ the e(i&&i&( of #%% ti$e #s free%-, #& #s fu%%-, #s e3er it #s,

or e3er i%% e, u2o& the st#(es of our the#tres. Wh#t etter e3ie&ce, or i&st#&ces, of this c#& e

h#3e th#& i& those stuies of her h#&ior!C #s the %#r(er s2ecies of c#ter2i%%#rs, he&, -stretchi&( the$se%3es out i& i$it#tio& of, #& to $#!e their foes thi&! th#t the- #re s!es< ti(ers

#& %io&s choosi&( # #c!(rou& i& !ee2i&( ith, #& i& i$it#tio& of, the co%ours of their oies,

i& orer to sei4e their u&#r- 2re-< #& for the s#$e 2ur2ose crocoi%es i$it#ti&( # rotti&( %o(<

the (ree& ti&t of the %i4#r's s!i& for the s#!e of co&ce#%$e&t< the 2%#-fu% i$it#ti3e&ess of the$oc!i&( ir< the h-steric#% %#u(h of the h-#e< the (#u- co%ours of tro2ic#% s!es i$it#te

- others, esies $#&- other e#$2%es of /i$icr-, i& such #s utterf%ies of the

s2ecies Danaidae #& Acraediae, the Heliconidiae of tro2ic#% A$eric#< #& hor&ets, #s2s, #&ts,#& ees. A%% this, it $#- e ur(e, is o&%- i&sti&ct. True< ut is it &ot #%so /i$icr-the

P#&to$i$e of N#ture, #&, thou(h, of course, of # iffere&t !i&, #& for 3er- iffere&t o6ects,

is, &e3erthe%ess, of # !i& of i&sti&cti3e P#&to$i$e or /i$icr- hich e#ch #& e3er- o&e of us 2ossesses i& (re#ter or %esser e(rees, #& #s $uch #s e o the Dr#$#tic i&sti&ct.

The 3er- $e P#&to$i$e itse%f si(&ifies N#ture #s P#& #s #$o&(st the A&cie&ts, the

#%%e(oric#% (o of N#ture, the she2her of Arc#i#, #& ith Mimos, $e#&i&( #& i$it#tor, e

h#3e, i& the co$itio& of these to ors, "#& i$it#tor of N#ture," #& fro$ he&ce e

eri3e the ori(i& of our or P#&to$i$e.

Dr-e& s#-sB

"Pan taught to join with wax unequal reeds;

Pan loves the shepherds and the flocks he feeds."

"P#&," s#-s Ser3ius, "is # rustic (o, for$e i& si$i%itue of N#ture, he&ce he is c#%%e

P#&, i.e., A%%B for he h#s hor&s i& si$i%itue of the r#-s of the su& #& the hor&s of the $oo&< his

f#ce is #s ru- #s the i$it#tio& of the #ether< he h#s # s2otte f#& s!i& o& his re#st i& %i!e&essof the st#rs< his %oer 2#rts #re sh#((- o& #ccou&t of the trees, shrus, #& i% e#sts< he h#s

(o#t's feet to e&ote the st#i%it- of the e#rth< he h#s # 2i2e of se3e& rees o& #ccou&t of the

h#r$o&- of the he#3e&s, i& hich there #re se3e& sou&s< he h#s # croo!, th#t is # cur3e st#ff,o& #ccou&t of the -e#r, hich ru&s #c! o& itse%f because he is the god of all Nature."

*erri& e St. Pierre oser3es of P#&to$i$e, "Th#t it #s the first %#&(u#(e of $#&< it is!&o& to #%% tio&s< #& is so tur#% #& so e2ressi3e th#t the chi%re& of hite 2#re&ts %e#r& it

r#2i%- he& the- see it use - the &e(roes."

Of the P#&to$i$ic %#&(u#(e# u&i3ers#% %#&(u#(e #& co$$o& to the ho%e or% fro$ti$e i$$e$ori#%h#r%es D#ri& s#-s i& his "Desce&t of /#&," th#t "The i&te%%ectu#% #&

soci#% f#cu%ties of $#& cou% h#r%- h#3e ee& i&ferior i& #&- etre$e e(ree to those &o

2ossesse - the %oest s#3#(e< otherise 2ri$e3#% $#& cou% &ot h#3e ee& so e$i&e&t%-


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successfu% i& the stru((%e for %ife #s 2ro3e - his e#r%- #& ie iffusio&. +ro$ the

fu&#$e&t#% iffere&ces etee& cert#i& %#&(u#(es so$e 2hi%o%o(ists h#3e i&ferre th#t, he&

$#& first ec#$e ie%- iffuse, he #s &ot # s2e#!i&( #&i$#%< ut it $#- e sus2ecte th#t%#&(u#(es, f#r %ess 2erfect th#& #&- &o s2o!e&, aided b gestures, $i(ht h#3e ee& use, #&

-et h#3e %eft &o tr#ces o& suseue&t #& $ore hi(h%->e3e%o2e to&(ues."

With the 2ro(ress of, #& #%so #s #& #i to, ci3i%i4#tio& ho cou% the tr#3e%%er or the tr#er,

&ot o&%- i& the e(i&&i&( of ti$e, ut #%so &o, he& occ#sio& e$#&s, i& their i&tercourseith forei(& tio&s @u&%ess, of course, the- !&o the %#&(u#(e $#!e the$se%3es u&erstoo, or

e #%e to tr#e, u&%ess the- ere or #re #%e to use th#t "u$ si%e&t %#&(u#(e"P#&to$i$eC

i3i%i4#tio& u&oute%- oes $uch of its 2ro(ress to it, #&, #%so the or% #t %#r(e, to this o&%-#& #%#-s u&i3ers#% %#&(u#(e. To oth the e#f, #s e%% #s the u$, its #3#&t#(es h#3e e3er

ee& #22#re&t.

Therefore, fro$ 2rehistoric ti$es, #& fro$ the e(i&&i&( of the or%, e $#- 2resu$e to

h#3e h# i& so$e for$ or #&other, the P#&to$i$ic Art. I& the %oer st#(es of hu$#&it-, e3e& i&

our o& ti$es, there is, i& #%% 2ro#i%it-, # c%ose si$i%#rit- to the s#3#(eo$ of $#&!i& i& the

e#r%- A&tei%u3i#& 2erio #s "This is sho& @s#-s D#ri& - the 2%e#sure hich the- #%% t#!e i&#&ci&(, rue $usic, 2#i&ti&(, t#ttooi&(, #& otherise ecor#ti&( the$se%3esi& their $utu#%

co$2rehe&sio& of gesture language, #& - the s#$e irticu%#te cries, he& the- #re ecite -3#rious e$otio&s." It tur#%%- fo%%os th#t e3e& if there #s o&%- #&ci&(, there $ust

&ecess#ri%-, #s # for$ of e&tert#i&$e&t, h#3e #%so ee& P#&to$i$e. A(#i&, #%% s#3#(e tries h#3e

# #r>#&ce of so$e escri2tio&, i& hich i& fi(hti&( costu$e the- i&3#ri#%- (o throu(h, i&P#&to$i$ic for$, the res2ecti3e $o3e$e&ts of the h#%%e&(e, the o&f%ict, the Pursuit, #& the

Defe#t, hi%st other $e$ers of the trie, oth $e& #& o$e&, (i3e #itio% sti$u%us to

these re2rese&t#tio&s - # rue for$ of $usic.

The Ost-#! trie of Norther& Asi# (i3e us # s2eci$e& of the rue i$it#ti3e #&ces of e#r%-

ci3i%i4#tio& i& # P#&to$i$ic ehiitio& of the h#se< the (#$o%s #& h#its of the o%f #&other i% e#sts. The P#&to$i$ic #&ces of the =#$ch##%es #re i& i$it#tio& of irs, o(s,

#& e#rs< #& the D#$#r#s re2rese&t, - four of the trie stoo2i&( o& ith their he#s

to(ether, #& utteri&( h#rsh cries, the $o3e$e&ts of oe&, #& of shee2. The Austr#%i#& *ush$e&/i$ic the %e#2i&( of c#%3es, the #&tics of the #oo&, #& the u44i&( of s#r$s of ees.

Pri$iti3e P#&to$i$ic #&ci&( is 2r#ctise #$o&(st the South Se# Is%#&ers, #& other r#ces, #&

6ust #s it #s, 2resu$#%-, #t the e(i&&i&( of the or%.

H#3i&( rief%- tr#ce the ori(i& of P#&to$i$e, #& the source of #&ci&(, %et us, i& orer tofurther #$2%if- $- su6ect, %oo! #t #%so for # $o$e&t the ori(i& of $usic, i& the ti$e of

2rehistoric $#&.

+ro$ N#ture #%so o e eri3e this #rt, #s "The si(hi&( of the i& 2#ssi&( o3er # e of rees is N#ture's first su((estio& of re#th," #& of $usic. The c%#22i&( of h#&s #& the

st#$2i&( of feet is $#&'s first e%e$e&t i& the $#!i&( of $usic, hich e3e%o2e itse%f i&to thefor$#tio& of ru$s, e%%s, #& c-$#%s, #& the e3o%utio& of the s#$e 2ri$#r- 2ri&ci2%e.

It h#s ee& #r(ue, #& #%so riicu%ous%- 2rete&e, th#t i& the A&tei%u3i#& 2erio $#&!i&

o&%- %i3e i& c#3es ith the h#ir- $#$$oth, the c#3e e#r, the rhi&oceros, #& the h-#e, i& #

st#te of #r#rous s#3#(er-< #& th#t o&%- si&ce the De%u(e h#3e the Arts ee& !&o& #& cities ui%t o& this terrestri#% s2here of ours. ou% #&-thi&( e $ore f#%%#ciousC


9/93

We !&o, fro$ the *i%e, th#t the first $#& #s cre#te #out si thous#& -e#rs #(o, #&

so$e sitee& hu&re #& fift->si -e#rs #fter#rs the i&h#it#&ts of the or%, ith the

ece2tio& of No#h #& his f#$i%-, co&sisti&( of ei(ht sou%s #%% to%, ere estro-e - the f%oo. No#h #& his f#$i%-, e c#& t#!e it, ere of the s#$e r#ce of $#&!i& the& o& the e#rth, of the

s#$e esce&t #& of the s#$e f%esh #& %oo @#s e #%% #re of our co$$o& f#ther #& $other,

A#$ #& E3e< -et e #re &ot to% th#t No#h @he #s si hu&re -e#rs o% he& he e&t i&tothe Ar! #& his f#$i%- ere s#3#(es. I& the th ch#2ter, 1st 3erse of Ge&esis, of )u#%>#i&, e

%e#r& th#t "He #s the f#ther of #%% such #s h#&%e the h#r2 #& or(#&"< #& i& the fo%%oi&(

3erse, Tu#%>#i& is escrie #s "A& i&structor of e3er- #rtificer i& r#ss #& iro&."

We %e#r&, #%so, th#t $#(&ifice&t st#tues ere $#e i& E(-2t so$e si thous#& -e#rs #(o< #&th#t $e&tio& is $#e of # st#tue of =i&( e2hre&, s#i to h#3e ee& chise%%e #out this 2erio,

#& $#&- %e#r&e $e& #%so #ffir$ th#t %etters ere !&o& to the i&h#it#&ts of the A&tei%u3i#&

or%. A%% this, hoe3er, h#r%- %oo!s %i!e the or! of # #r#rous r#ce, #& 2oi&ts to #&

#cu#i&t#&ce ith the Arts, #t #&- r#te of /usic #& Scu%2ture, #& th#t of the #rtificers #&or!ers i& r#ss #& iro&.

To fo%%o, for $- su6ect, this re#so&i&( # %itt%e further, if there #s $usic @hich, out%ess,there #s there $ust #%so h#3e ee& #&ci&(, #&, if #&ci&(, there $ust, i& the A&tei%u3i#&

#(e, #s # for$ of e&tert#i&$e&t, h#3e #%so ee& P#&to$i$e. O& the other h#&, e3e& su22osi&(th#t $#&, #t this 2erio, #s &othi&( e%se ut # co$2%ete s#3#(e, the ors of D#ri&, th#t I h#3e

uote o& # 2re3ious 2#(e, co&c%usi3e%- 2ro3es, I thi&! @o& # co$$o&>se&se %i!e #sis, of the

eiste&ce of #&ci&(, # rue for$ of $usic, #&, of course, P#&to$i$e #t this e2och.

I&(erso%%'s octri&e #s th#t "The ist#&ce fro$ s#3#(er- to Sh#!es2e#re $ust e $e#sure&ot - hu&res, ut - $i%%io&s, of -e#rs."

+i%%-, h-, #& for h#t re#so&, shou% the Lor Go, i& His #%%>seei&( (oo&ess #& $erc-,

2u&ish the i&h#it#&ts of the A&tei%u3i#& or% if the- ere o&%- 2oor u&e&%i(hte&e s#3#(esC

W#s it &ot ec#use the- ere io%#ters #& orshi22ers of io%s, "A& th#t e3er- i$#(itio& of the thou(hts of his @$#&'s he#rt #s o&%- e3i% co&ti&u#%%-," #s the sith ch#2ter #& fifth 3erse of Ge&esis te%%s usC This the& ei&( so, e !&o #%so th#t i& e3er- #&cie&t for$ of re%i(io& #&ci&(

#s o&e of the #cts of orshi2, #& if #&ci&(, there $ust #s 2re3ious%- st#te, h#3e #%so ee&

P#&to$i$e.

CHAPTER II.

Origin of Trag"#$ an# Co!"#$%M$&o'og$%T&" !"aning of &" (or#

Pano!i!"%T&" origin of Har'")*in, Co'*!+in", C'o(n, an# Pana'oon%

r"-ian M$&o'og$%Tranfor!aion S-"n"%T&" ri" of r"-ian Trag"#$ an#

Co!"#$%T&" Sairi-a' Dra!a.


10/93

I& the -e#r F *.., i& h#2ter 9, 3erse 0, i& Ge&esis, there occursB "A& No#h e(#& to e

# hus#&$#&, #& he 2%#&te # 3i&e-#r." This is o&e of the first #cts th#t No#h i #fter the

De%u(e, #& it is, #s histor- te%%s us, fro$ the rites #& cere$o&ies i& ce%er#tio& of thecu%ti3#tio& of the 3i&e, th#t e oe the ori(i& of Tr#(e- #& o$e-.

After the De%u(e Go 2%#ce His o i& the he#3e&s #s His co3e&t ith $#& th#t the or%

shou% &o $ore e #ccurse< #& i& the first #(es of this or%'s histor-, No#h #& his

esce&#&ts ce%er#te their e%i3er#&ce fro$ the Ar!, the retur& of the se#so&s, #& the 2ro$iseof 2%e&t- i& their se3er#% re%i(ious rites #& cere$o&ies. The chi%re& of She$ h# i& (e&er#%

Asi# #s their 2ortio&< )#2het h# Euro2e< #& H#$, Afric#.

Soo&, hoe3er, re%i(io& e(#& to %ose its 2urit-, #& it the& e(#& to e(e&er#te 3er- f#st. /e&

e(#& to re2#ir to the to2s of $ou&t#i&s, %o&e%- c#3es #& (rottoes, here the- thou(ht resietheir (os. To ho&our the$ the- erecte #%t#rs #& 2erfor$e their 3os. A$o&(st the A&cie&ts

their /-tho%o(- e&t &o further th#& the e2och of the De%u(e, #& i& ho&our of hich, #& #%so

of the Ar!, the- erecte $#&- te$2%es c#%%e Are&, The#, Ar(us @fro$ he&ce #s 2ro#%-

eri3e the Ar(o of the Ar(outs, #& the s#cre shi2 of Osiris, iotus, To%eus, #& *#ris.

The s-$o% - hich the /-tho%o(ists re2rese&te the Ar! #s #& i$$e&se e((. This #ssu22ose to h#3e ee& 2rouce - Ether #& h#os, #t the ii&( of Ti$e, the o&e ethere#%

ei&( ho cre#te the u&i3erse. *- No @Ni(ht the e(( #s h#tche, hich, ei&( o2e&e i&to

to 2#rts, fro$ the u22er 2#rt #s for$e he#3e&, #& the %oer e#rth.

I& the s#cre rites of Osiris, Isis, #& the Dio&-si# of *#cchus, the Ar! or Shi2 #s i&trouce.The Do3e, - $#&- tio&s, i& their ce%er#tio&s, #s %oo!e u2o& #s # s2eci#% e$%e$ of 2e#ce

#& (oo>i%%. The#, i& E(-2t, #s ori(i%%- o&e of the te$2%es eic#te to the Ar!. *oth

2riests #& sooth>s#-ers ere st-%e Ioh or Do3es. To Doo, i& E2irus, #s rou(ht this #&the first Greci#& or#c%e #%% the rites #& histor- of the The#&s. The 2riestesses of this te$2%e

ere !&o& i& the L#ti& #s !olumbae. It is fro$ this or th#t e eri3e the $e o%u$i&e,

hich $e#&s, i& the It#%i#&, "%itt%e o3e." Ho$er #%%ues to the 2riestesses #s o3es, #& th#t the-#$i&istere to 5euth @No#h. No&&us s2e#!s of #$us, #& others of Or2heus, #s i&trouci&(i&to Greece the rites of Dio&-sus or *#cchus.

The A&cie&ts, $e&tio&s =e&&e- i& his or! o& "/-tho%o(-," h#3e hi(h%- re3ere&ce No#h,

#& esi(te hi$ #s No#, Noos, Nous, Nus, Nus#s, Nusus @i& I&i#, Thoth, Her$es, /ercur-,

Osiris, Pro$etheus, Deuc#%io&, At%#s, Deus, 5eus, #& Dios. Dios #s o&e of the $ost #&cie&tter$s for No#h, #& he&ce #s eri3e DeusNusus co$2ou&e of Dios #& Nusos, hich

(i3es us Dio&-sus, the *#cchus of the Gree!s, #& the chief (o of the he#the& or%. *#cchus

#s, 2ro2er%- s2e#!i&(, ush @the so& of H#$, #& (r#&so& of No#h, thou(h oth Dio&-sus#& *#cchus #re, - #&cie&t riters, freue&t%- co&fou&e ith o&e #&other.

The resti&( of the Ar! u2o& /ou&t *#ris, /i&-#s, the Ar#r#t of /oses i& Ar$e&i#, the

is2ers#% of the f%oo, the $u%ti2%ic#tio& of the f#$i%ies of the e#rth, #& the $i(r#tio& fro$ the

2%#i&s of Shir of the esce&#&ts of the so&s of hus or ush @#s it is so$eti$es ritte&, #&

c#%%e hushites or ushites, to iffere&t 2#rts of the or%, ei&( 6oi&e - other tio&s, 2#rticu%#r%- those of the esce&#&ts of H#$, o&e of the so&s of No#h. The- ere the first

#2ost#tes fro$ the truth, ut ei&( (re#t i& or%%- iso$ #& !&o%e(e the- ere thou(ht to

e, #& %oo!e u2o& #s # su2erior c%#ss of ei&(s. H#$ the- %oo!e u2o& #s # i3i&it-, #& u&er the $e of A$$o& the- orshi22e hi$ #s the Su&, #& hus %i!eise #s A2o%%o, # $e


11/93

hich #s #%so estoe - the A&cie&ts u2o& No#h. The orshi2 of the su& i& #%% 2ro#i%it-

ori(ite the e#ster& 2ositio& i& our churches.

A&other of the #&cie&t eities orshi22e - the A$$o&i#&s #s /ee, or /eet, the -e%e

of the Phr-(i#&s, the &urse of Dio&-sus, #& the Sou% of the Wor%.

Ni$ro, the "$i(ht- hu&ter" @ho 2ossesse the re(io&s of *#-%o&i# #& h#%ee, #& o&eof the so&s of ush, #s the ui%er of th#t se$ir- of io%#tor- the it- #& Toer of *e%, #&

erecte i& ho&our of the (o *e%, #& #&other $e for the su&. ?2o& the co&fusio& of to&(ues

he& hitherto "The ho%e e#rth #s of o&e %#&(u#(e, #& of o&e s2eech," it c#$e to e !&o& #s*#-%o&, "The it- of o&fusio&." Ho$er i&trouces Orio& @Ni$ro #s # (i#&t #& # hu&ter i&

the sh#es e%o, #& the #uthor of the "P#sc#% hro&ic%es" $e&tio&s th#t Ni$ro t#u(ht the

Ass-ri#&s or *#-%o&i#&s to orshi2 fire. The 2riests of A$$o&, $e Petor or P#tor, use to#&ce rou& # %#r(e fire, hich the- #ffecte i& their #&ci&( to escrie. Pro#%- fro$ this the

Der3ish #&ces #%% o3er the E#st $#- e tr#ce to this source.

=e&&e- oser3es, of the co&fusio& of to&(ues #t *#e%, th#t it #s o&%- # %#i#% f#i%ure, so

th#t the 2eo2%e cou% &ot #rticu%#te. It #s &ot #& #err#tio& i& ors or %#&(u#(e, ut # f#i%ure#& i&c#2#cit- i& %#i#% utter#&ce. E2i2h#&ius s#-s th#t *#e%, or *#-%o&, #s the first cit- ui%t#fter the f%oo.

The ushites ere # %#r(e #& &u$erous o-, #& #fter their is2ersio& fro$ *#-%o& the-

ere sc#ttere "Aro# u2o& the f#ce of the e#rth." The- ere the s#$e 2eo2%e ho i$2#rte

their rites #& re%i(ious ser3ices i&to E(-2t, #s f#r #s the I&us #& the G#&(es, #& sti%% further i&to )#2#& #& hi. +ro$ this e3e&t is to e isco3ere the f#%e of the f%i(ht of the Greci#&

(o *#cchus, the f#u%ous #&eri&(s of Osiris, #& the s#$e (o u&er #&other $e, of the

E(-2ti#&s. Where3er Dio&-sus, Osiris, or *#cchus e&t, the A&cie&ts s#- th#t he t#u(ht thecu%ti3#tio& of the soi%, #& the 2%#&ti&( of the 3i&e. Dio&-sus, *#cchus, or Osiris, #s I h#3e

sho& i& # 2recei&( 2#(e, ere o&%- other esi(tio&s for No#h.

Of the Hi&u he#the& eit-, 7ish&u, +#ther *oushet $e&tio&s #& I&i#& tr#itio&, co&cer&i&( #

f%oo hich co3ere the ho%e e#rth, he& 7ish&u $#e # r#ft, #&, ei&( tur&e i&to # fish,

steere it ith his t#i%. 7ish&u, %i!e D#(o&, #s re2rese&te u&er the fi(ure of # $#& #& fish.

Str#&(e%- e&ou(h, the re(io&s s#i to h#3e ee& tr#3erse - Dio&-sus, Osiris, or *#cchusere, #t iffere&t ti$es, 2#sse throu(h - the 2osterit- of H#$, #& i& $#&- of the$ the- too!

u2 their resie&ce. I& his 6our&e-i&(s the chief #tte&#&ts of Osiris, or *#cchus, ere P#&,

Ais, /#ceo, the /uses, the S#t-rs, #& *#cchic o$e& ere #%% i& his reti&ue. The 2eo2%eof I&i# c%#i$ hi$ #s their o&, #& $#i&t#i& th#t he #s or& #t Nus# i& their cou&tr-. Arri#&

s2e#!s of the Nuse#&s #s ei&( the #tte&#&ts of Dio&-sus. I& #%% tr#itio&s Dio&-sus #22e#rs #s

the re2rese&t#ti3e of so$e 2oer of N#ture.

The first ho reuce /-tho%o(- to # !i& of s-ste$ ere, i& #%% 2ro#i%it-, the E(-2ti#&s.

E(-2t #s e3er the %#& of (r#3e& i$#(es, #& u&er the 3ei% of A%%e(or- #& /-tho%o(- the 2riests co&ce#%e re%i(io& fro$ the e-es of the 3u%(#r. I& the e(i&&i&(, rute #&i$#%s #& cert#i&

3e(et#%es ere re2rese&te #s the 3isi%e s-$o%s of the eities to hich the- ere co&secr#te.

He&ce )u2iter A$$o& #s re2rese&te u&er the fi(ure of # R#$< A2is u&er # o< Osiris of #*u%%< /ercur- or Tho% of #& Iis< Di# or *##stis of # #t< #& P#& of # Go#t. +ro$ these

sources #re eri3e the f#u%ous tr#&sfor$#tio& of the (os ce%er#te i& E(-2ti#& /-tho%o(-,


12/93

#& #fter#rs i$2orte i&to Greece #& It#%- to ser3e #s the su6ects of the Greci#& #& Ro$#&

P#&to$i$es.

P#&to$i$e #s e &o !&o the ter$, $e#&s, &ot o&%- the Art of #cti&( i& u$ sho, ut

#%so th#t of # s2ect#c%e or hrist$#s e&tert#i&$e&t. @I $#- # i& 2#re&thesis, th#t i& the e#r%- 2#rt of the %#st ce&tur-the &i&etee&ththe ictiories o&%- refer to P#&to$i$e #s $e#&i&(

the for$er of the #o3e to efi&itio&s, #& &ot the %#tter.

P#&, re(#re #s the s-$o% of the u&i3erse, #s #%so the (o of f%oc!s, 2#stures, #&

she2hers i& c%#ssic /-tho%o(-, #& the (u#ri#& of ees, hu&ti&( #& fishi&( i& his =i&(o$ of Arc#i#. His for$, %i!e the S#t-rs, oth su22ose to h#3e ee& the offs2ri&(s of /ercur-, #s

th#t of # $#& co$i&e ith # (o#t, h#3i&( hor&s #& feet %i!e the %#tter #&i$#%.

Mimos @Gr., #s I h#3e st#te i& the e(i&&i&(, $e#&s #& "i$it#tor," or # "$i$ic," #& fro$

hich or e h#3e the eri3#tio& of the ors "$i$icr-," "$i$etic," #& the %i!e.

P#& #s the tr#itio% i&3e&tor of the P#&e#& 2i2es, #& #%so fro$ his $e e eri3e $#&-

ors th#t #re i& our %#&(u#(e, such #s "2#&ic" @P#& use to e%i(ht i& sue&%- sur2risi&( the

she2hers hi%st te&i&( their f%oc!s, #& the other #ttriutes of this &ou&, i&c%ui&( th#trece&t%- coi&e ter$ of the A$eric#&s, "2#&ic-."

P#& is s#i to h#3e ee& the so& of /ercur-, or e3e& /ercur- hi$se%f, #& others s#- th#t he

#s the so& of 5eus. /ercur- #& 5eus, it i%% e re$e$ere i& /-tho%o(-, ere o&%- $esfor No#h. P#& is u&&otice - Ho$er.

A he#the& eit- of It#%-, Lu2ercus, the (u#ri#& of their f%oc!s #& 2#stures, h#s #%so ee&

ie&tifie ith P#&, #& i& hose ho&our #&&u#% rur#% festi3#%s, !&o& #s Lu2erc#%i#, ere

oser3e.

The Lu2erc#%i#& festi3#%s ere he% o& the 1th of the =#%e&s of /#rch. The 2riests, Lu2erci,

use to #&ce !e throu(h the streets #s 2#rt of the cere$o&ies #tt#che to the festi3#%.

/e&tio& h#s ee& $#e - Dr. %#r!e, i& his "Tr#3e%s," 7o%. I7., th#t H#r%eui& is the (o

/ercur-, ith his short sor her"e, or his ro, the caduceus @hich h#s ee& %i!e&e to the

sce2tre of )u#h, to re&er hi$se%f i&3isi%e, #& to tr#&s2ort hi$se%f fro$ o&e e& of the e#rth

to the other, #& th#t the co3eri&( o& his he#, the i&(e c#2, #s the "etasus. A2ro2os of this,the fo%%oi&( %i&es i& the te&th Oe, of the first oo! of Hor#ce, i%% 2ro#%- occur to the

re#erB

"Mercury! Atlas soothtongued #oy$ whose will

%irst trained to speed our wildest earliest race$

And gave their rough hewn fors with supple skill

&he gynasts grace.

"&is thine the un#odied spirits of the #lessed$

&o guide to #liss$ and with thy golden rod

&o rule the shades; a#ove$ #elow$ caressed

'y every god."

/ercur-, #s e h#3e see&, #s #$o&( the A&cie&ts, o&%- #&other $e for No#h. "I&ee,"

s#-s Dr. %#r!e, "so$e of the re2rese&t#tio&s of /ercur- u2o& #&cie&t 3#ses #re #ctu#%%- t#!e&

fro$ the sce&ic ehiitio&s of the Greci#& the#tre< #& th#t these ehiitio&s ere #%so the


13/93

2rotot-2es hereo& D'H#&c#r3i%%e shos /ercur-, /o$us, #& Ps-che e%i&e#te #s e see

H#r%eui&, o%u$i&e, #& %o& o& our st#(es. The o% $#& @P#&t#%oo&, is h#ro& @the

ferr-$#& of he%%. The %o& is /o$us, the uffoo& of he#3e&, the (o of r#i%%er- #& it, #&hose %#r(e (#2i&( $outh is i& i$it#tio& of the #&cie&t $#s!s."

A$o&(st the Ar-#&s, /ei#&s, E(-2ti#&s, h#%e#&s, *#-%o&i#&s, #& other tio&s

@i&c%ui&( our o&, #s i &ot Li%%- 2reict the eecutio& of h#r%es I., the 2%#(ue, the (re#t fire

of Lo&o&, #& other e3e&ts #s #stro%o(- 2r#ctise. The E(-2ti#&s 2eo2%e the co&ste%%#tio& of the 5oi#c @the first o2e& oo! for $#&!i& to re#, ith Ge&ii, #& o&e of the te%3e 5oi#c#%

si(&s #s Aries @the R#$. The r#$ is of the s#$e s2ecies #s the (o#t, #& the (o P#& #s the

Go#t (o, #s e !&o. The #stro%o(ers, i& their i3itio&s #& ru%i&(s of the 2%#&ets 2%#ce the3#rious 2#rts of the o- u&er # 2%#&et#r- i&f%ue&ce. The he# #& f#ce ere #ssi(&e to the

house of Aries, #& therefore the f#ce &ot#%- for the P#&to$i$ic Art #s 2%#ce - the #&cie&t

#stro%o(ers u&er the i&f%ue&ce of this 2#rticu%#r 2%#&et.

The he#the& orshi2 of P#& #s &ot o&%- !&o& i& Arc#i#, ut #%so throu(hout Greece,

#%thou(h it i &ot re#ch Athe&s u&ti% #fter /#r#tho&.

Of P#&'s e#th P%ut#rch te%%s the stor- th#t i& the rei(& of Tierius, o&e Th#$us, # 2i%ot,3isiti&( the is%#&s of P##e, #s to% of this (o's e#th. Whe& he re#che P#%oes he to% the

&es, hereu2o& %ou #& (re#t %#$e&t#tio&s ere he#r, #s of N#ture herse%f e2ressi&( her

(rief. The e2och of the stor- coi&cies ith the ect$e&t of th#t (ri$, #& the or%'s (re#testtr#(e- o& the hi%% of Go%(oth#, #& the e&, #& the e(i&&i&( of # &e or%. R#e%#is, /i%to&,

Schi%%er, #& #%so /rs. *ro&i&(, h#3e #%%usio&s to this stor- of P%ut#rch's.

The #$itious f#$i%- of the Tit#&s @the o&es of the "(i#&ts o& the e#rth" efore the De%u(e,

(#3e rise to the stories of the Tit#&s fou& i& c#3es, #& their scio&s #& co#6utors )u2iter,)u&o, /#rs, /ercur-, A2o%%o, Di#, *#cchus, /i&er3#, or P#%%#s, eres, Proser2i&e, P%uto, #&

Ne2tu&e fur&ish - f#r the (re#test 2#rt of the /-tho%o(- of Greece. Tr#itio& s#-s th#t the- %eft

Phoe&ici# #out the ti$e of /oses to sett%e i& rete, #& fro$ the&ce the- $#e their #- i&toGreece, hich #s su22ose #t th#t ti$e to e i&h#ite - # r#ce of s#3#(es. The #rts #&i&3e&tio&s ere co$$u&ic#te to the ti3es, #& the %essi&(s of ci3i%i4#tio& i& 2rocess of ti$e

i&s2ire the i&h#it#&ts ith #$ir#tio&. The-, therefore, re%i&uishe orshi22i&( the %u$ir-

#& he#3e&%- oies, #& tr#&sferre their e3otio& to their e&ef#ctors. The& i&to eiste&ces2r#&( the $ost i&co&siste&t #& irreco&ci%#%e fictio&s. The eifie $ort#%s, ith their foi%es

#& fr#i%ities, ere tr#&s$itte to 2osterit- i& the $ost (%orious $#&&er 2ossi%e, #& he&ce

#ccori&(%-, i& oth the O-sse- #& the I%i# of Ho$er, e h#3e # str#&(e #& hetero(e&eous$iture of h#t is &ot o&%- $i(ht- i& heroes, ut #%so th#t hich is eu#%%- $e#&.

I& the Greci#& /-tho%o(- the %#ours of Hercu%es, the e2eitio& of Osiris, the #&eri&(s

#& tr#&sfor$#tio& of Io, the f#%e of the co&f%#(r#tio& of Ph#eto&, the r#(e of Proser2i&e, the#&eri&(s of eres, the E%eusi&i#& /-steries, the Or(i#, or s#cre rites of *#cchus, i& fi&e, the

(rou& or! of Greci#& /-tho%o(- is to e tr#ce to the E#st, fro$ here #%so #%% our &urser-t#%es, #& #%so our 2o2u%#r P#&to$i$e su6ects< @hich is the su6ect of #&other ch#2ter

2erh#2s, ith the ece2tio& of our o& "Roi&so& rusoe," ori(ite.

The &i&e /uses c#%%e Pieries i& Greci#& /-tho%o(- ere the #u(hters of )u2iter #&

/&e$os-&e @/e$or-, su22ose to 2resie o3er the %ier#% Arts #& the scie&ces. The- ere#%%io2e @Heroic Poetr-, %io Euter2e @/usic, Er#to @Lo3e Poetr-, /e%2o$e&e @Tr#(e-,


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Po%-h-$&i# @/use of Si&(i&( #& Rhetoric, Ter2sichore @D#&ci&(, Th#%i# @o$e-, #&

?r#&i# @Astro&o$-. /ou&t P#rssus, /ou&t He%ico&, #& the fou&t#i&s of #st#%i# #&

A(#&i22e ere the s#cre 2%#ces of the /uses.

The E%eusi&i#& /-steries #re of # 2erio th#t $#- e %i!e&e to the th ce&tur- *.., #& #tthese /-steries #s $#&- #s F0,000 2erso&s, i& the ti$e of Herootus, #sse$%e to it&ess the$.

The #ttriutes of these Greci#& /-steries, %i!e those of the E(-2ti#&s, co&siste of 2rocessio&s,

s#crifici#% offeri&(s, 2urific#tio&s, #&ces, #& #%% th#t the /i$etic #& the other Arts cou%co&3e-< # to this the 3#rious co%oure %i(hts, #& the f#ir->%i!e (r#&eur of the ho%e, e h#3e

so$ethi&( th#t $#- e %i!e&e to the Tr#&sfor$#tio&, #& other f#ir->%i!e sce&es of E&(%ish

P#&to$i$es #& Etr#3#(#&4#s.

At the Or(i#, or s#cre rites of *#cchus, the custo$#r- s#crifice to e offere, ec#use it feo& 3i&es, #s the (o#t. The 3i&e, i3-, %#ure%, #s2hoe%, the o%2hi&, %-&, ti(er, #& #ss ere #%%

s#cre to *#cchus. The #cce2t#%e s#crifice to 7e&us #s # o3e< )u2iter, # u%%< #& o of fi3e

-e#rs o%, r#$ or o#r 2i( to Ne2tu&e< #& Di#, # st#(. At the i&ce2tio& of the *#cch#%i#&

festi3#%s i& Greece, the tr#(ic so&( of the Go#t, # s#cre h-$& #s su&(, #& fro$ hich rue

e(i&&i&( s2r#&( the Tr#(e- #& o$e- of Greece. The Gree!s 2%#ce e3er- e3e&t #sh#22e&i&( i& their cou&tr-, #& it is &ot sur2risi&( th#t the- c%#i$ for the$se%3es the i&ce2tio& of

Tr#(e- #& o$e-, hich the- u&oute%- ere the ori(itors of i& Greece, ut there%i(ious festi3#%s of Dio&-sus, Osiris, #& *#cchus, to hich e #re su22ose to oe the

i&ce2tio& of Tr#(e- #& o$e-, ere !&o& %o&( efore the Gree!s !&e the$. @Dio&-sus

#s the 2#tro& #& 2rotector of the#tres. "The 2ur2ort of the so&( #s th#t *#cchus i$2#rte hissecret of the cu%ti3#tio& of 3i&es to # 2ett- 2ri&ce i& Attic#, $e Ic#rius, ho h#22e&e o&e

#- to es2- # (o#t rou4i&( u2o& his 2%#&t#tio&s, i$$ei#te%- sei4e, #& offere it u2 #s #

s#crifice to his i3i&e e&ef#ctor< the 2e#s#&ts #sse$%e rou& their $#ster, #ssiste i& the

cere$o&-, #& e2resse their 6o- #& (r#titue i& $usic, so&(s, #&ces, #& P#&to$i$e o& theocc#sio&< the s#crifice (re i&to # festi3#%, #& the festi3#% i&to #& #&&u#% so%e$&it-, #tte&e

$ost 2ro#%- e3er- -e#r ith #itio% circu$st#&ces, he& the cou&tr-$e& f%oc!e to(ether i& cros, #& s#&( i& rustic str#i&s the 2r#ises of their f#3ourite eit-."

A$o&(st the re2orte fo%%oers of these *#cch#%i#& festi3#%s ere those f#u%ous r#ce of (rotesue s-%3#& ei&(s, 2re3ious%- referre to, !&o& #s the S#t-rs. The- ere of # stur-

fr#$e, i& fe#tures the- h# ro# s&u &oses, #& #22e#re i& rou(h s!i&s of #&i$#%s ith %#r(e

2oi&te e#rs, he#3- !&ots o& their forehe#s, #& # s$#%% t#i%. The e%er S#t-rs ere !&o& #sSi%e&i. The -ou&(er ere $ore 2%e#si&( #& &ot so (rotesue or re2u%si3e i& #22e#r#&ce #s the

e%er S#t-rs. To the S#t-rs c#& e tr#ce the 3#rie(#te ress of the $oer& H#r%eui&, #s i&

#&cie&t Gree! histor- $e&tio& is $#e of the 2erfor$ers ecti&( S#t-rs ei&( so$eti$es

h#ite i& # ti(er's s!i& of 3#rious co%ours, hich e&circ%e the 2erfor$er's o- ti(ht%-, #& hoc#rrie # ooe& sor, ore # hite h#t, #& # ro& $#s!. Accori&( to Ser3ius @#s e h#3e

see& P#& h# #%so # ri(ht s2otte ress "i& %i!e&ess of the st#rs."

+ro$ these rustic festi3#%s ori(ite the S#t-r, or S#tiric#% Dr#$#, #s i its It#%i#& 2rotot-2e,

the Fabulae Atellanae or, Laudi #sci. These rur#% s#crifices ec#$e, i& 2rocess of ti$e, # so%e$&f#st, #& #ssu$e #%% the 2o$2 #& s2%e&our of # re%i(ious cere$o&-< 2oets ere e$2%o-e -

the $#(istr#te to co$2ose h-$&s, or so&(s, for the occ#sio&< such #s the rue&ess #&

si$2%icit- of the #(e th#t their #rs co&te&e for # 2ri4e, hich, #s Hor#ce i&ti$#tes, #s


15/93

sc#rce orth co&te&i&( for, ei&( &o $ore th#& # (o#t or s!i& of i&e, hich #s (i3e& to the

h#22- 2oet ho #cuitte hi$se%f est i& the t#s! #ssi(&e hi$.

+ro$ such s$#%% e(i&&i&(s Tr#(e- #& o$e- too! their rise< #& %i!e @#s the est riters

o& these su6ects te%% us e3er- other 2rouctio& of hu$#& #rt, etre$e%- co&te$2ti%e< th#t ie#& ee2 stre#$, hich f%os ith such stre&(th #& r#2iit- throu(h cu%ti3#te Greece, too! its

rise fro$ # s$#%% #& i&co&sier#%e fou&t#i&, hich hies itse%f i& the recesses of #&tiuit-, #&

is #%$ost urie i& o%i3io&< the $e #%o&e re$#i&s to (i3e us so$e %i(ht i&to its ori(i% ture,#& to i&for$ us, th#t Tr#(e- #& o$e-, %i!e e3er- other s2ecies of 2oetr-, oe their irth to

Re%i(io&.

A22ro2ri#te%- oes Hor#ce oser3eB

"(or was the flute at first with silver #ound$

(or rivalled eulous the trupets sound;

%ew were its notes$ its fors were siply plain$

)et not unuseful was its fee#le strain$

&o aid the chorus$ and their songs to raise$

%illing the little theatre with ease$

&o which a thin and pious audience cae

*f frugal anners$ and unsullied fae."

CHAPTER III.

T&" origin of &" In#ian Dra!a%Ar$an M$&o'og$%C'o(n an# Co'*!+in"%

Origin of &" C&in"" Dra!a%In-"/ion of &" Ja/an"" Dra!a%T&" Sia!""

Dra!a%Dra!ai- /"rfor!an-" of &" So*& S"a I'an#"r, P"r*0ian, A1"-,2*'*, an# Fi3i%T&" Eg$/ian Dra!a.

Of the I&i#& Dr#$# e %e#r& th#t the u&io& of $usic, so&(, #&ce, #& P#&to$i$e too! 2%#ce

ce&turies #(o *.., #t the festi3#%s of the ti3e (os, to hich #s #fter#rs #e i#%o(ue,#& %o&( efore the #3e&t, out of hich it (re, of the ti3e r#$# itse%f.

The 2ro(e&itors of the I&o>Euro2e#& r#ce, the Ar-#&si& S#&scrit $e#&i&( A(ricu%turists

ho crosse the I&us fro$ A$oo, here the- e%t &e#r the Ous, so$e to thous#& -e#rs

efore hrist, ere the ori(i% #&cestors #& 2eo2%e of I&i#.

The Ar-#& r#ce @Hi&us #& Persi#&s o&%- s2e#! of the$se%3es #s Ar-#&s %#i the fou&#tio&of the Greci#& #& Ro$#& /-tho%o(-, the #r! #& $ore so$re %e(e&s of the Sc#&ii#&

#& the Teuto&< #& #%% eri3e fro$ the 3#rious $es (rou2e rou& the Su& (o, hich i& the

%i(hter the$es the Ar-#&s #ssoci#te ith the risi&( #& the setti&( of the su&, i& #%% its he#3e&%-

(%or-, #& ith the so$re %e(e&s the co$i&( of the i&ter, #& $#r!i&( the iffere&ce etee&%i(ht&ess #& #r!&ess.

I& I&i# the ori(i& of r#$#tic e&tert#i&$e&ts h#s ee& #ttriute to the s#(e *h#r#t# @$e#&i&(

#& #ctor, ho recei3e, it is s#i, # co$$u&ic#tio& fro$ the (o *r#h$# to i&trouce the$, #s


16/93

the %#tter h# recei3e his !&o%e(e of the$ fro$ the 7e#s. *h#r#t# #s #%so s#i to e the

"+#ther of r#$#tic criticis$." P#&to$i$ic sce&es eri3e fro$ the he#the& /-tho%o(- of

7ish&u# co%%ectio& of 2oe$s #& h-$&s o& the Ar-#& re%i(io&#re e3e& &o i& I&i#occ#sio%%- ecte - the )#tr#s of the *e&(#%is #& the R#s#s of the 2ro3i&ces i& the est,

#&, 6ust #s their foref#thers i #(es #& #(es #(o. A& e2isoe fro$ the histor- of the (o

7ish&u, i& re%#tio& to his $#rri#(e ith L#$i, #s # f#3ourite su6ect for the e#r%- I&i#&Dr#$#. Of 7eic /-tho%o(- Professor /# /%%er oser3es th#t i& it "There #re &o (e&e#%o(ies,

&o sett%e $#rri#(es etee& (os #& (oesses. The f#ther is so$eti$es the so&, the rother,

the hus#&, #& she ho i& o&e h-$& is the $other, is i& #&other the ife. As the co&ce2tio&sof the 2oet 3#r- so 3#ries the ture of these (os."

The Hi&oo r#$#tic riter, *#h#3Jtithe I&i#& Sh#!es2e#rei&trouce ith success i&

o&e of his r#$#s, %i!e i& our "H#$%et," "# 2%#- ithi& # 2%#-," #& $uch i& # si$i%#r #- #s our

e#r%- r#$#tists use i& their 2%#-s, the "u$ shos."

*etee& the ti3e Tr#(e- #& o$e-, #s i& hi, there #s &o efi&ite isti&ctio&, #&,

#%thou(h oth co&t#i&e so$e of the est #& &o%est se&ti$e&ts, -et the r#ci#% 2hi%oso2h- of

c#ste e&ters (re#t%- i&to the co&structio& of e#ch.

I& the Hi&oo /-tho%o(- e h#3e 2rotot-2es of the (os of the E(-2ti#&, Greci#&, #&

Ro$#& /-tho%o(ies. The (o 7ish&u, ho, i& Ar-#& /-tho%o(-, is the i& #& "Tr#3erses the

he#3e&s i& three stries," is the (re#test of #%% he#the& eities. His e%%i&(>2%#ce #s "The #eri#%$ou&t#i&s, here the $#&- hor&e #& sift%- $o3i&( c#tt%e #ie." I& Greci#& /-tho%o(-

Her$es or /ercur- too! o& so$e of the ch#r#cteristics of 7ish&u.

I& the E%eusi&i#& /-steries of the Gree!s, the si(&s #& s-$o%s th#t $#r!e the orshi2 of

7ish&u - the Ar-#&s, #re #22#re&t< #& i& the *ritish /useu$ the sce&es of the 3#ses of theH#$i%to& co%%ectio& #(ree c%ose%- ith the S#cti rites of Hi&ust#&.

After h#3i&( rief%- &otice #& i&trouce 7ish&u or Her$es to the &otice of the re#er, ei%% &o t#!e #&other of the Ar-#& eitiesSee>7#, the Wi&e (o. This $-th #s the Dio&-sus,

or *#cchus, of the Gree!s, #& the e2eitio& of this "i$$ort#%" throu(h the or% to i&struct

$#&!i& i& #(ricu%ture, is %i!e&e #s e%% #s the (o hi$se%f - the E(-2ti#&s to their eit-Osiristhe (o of the Ni%e. The orshi2 of See>7#, *#cchus, or Osiris ete&e o3er Asi#

/i&or, Greece, #& It#%-.

The 3isit #& #3e&t of the Wi&e or P%e#sure (o *#cchus to I&i#, ith his #cco$2#&-i&(

tr#i& of s-%3#& #& rur#% eities, #& &-$2hs, is su22ose to h#3e co&uere the Hi&oos, #&t#u(ht the$ ci3i%i4#tio&, esies the cu%ti3#tio& of the 3i&e. Str#&(e to re%#te th#t he&

A%e#&er #& his #r$- re#che the 2rese&t #u% the- fou& i3- #& i% 3i&es @oth s#cre to

*#cchus (roi&( i& #u&#&ce, #& the- ere $et - 2rocessio&s resse i& 2#rti>co%oureresses, 2%#-i&( o& ru$s %i!e the *#cchic festi3#%s of Greece #& Loer Asi# of th#t ti$e.

+e$#%e 2#rts ere #cte - o$e&, ut it #s &ot # (e&er#% custo$< #& the %o& of the 2iece #s #%#-s # *r#h$#, or if &ot, #t #&- r#te # 2u2i% of *r#h$#.

A%so #$o&( the $i&or ch#r#cters #s the $ita, "the #cco$2%ishe co$2#&io&," # 2#rt

so$eti$es 2%#-e - $e& #& so$eti$es - o$e&. Pro#%- i& this i& the %#tter i&st#&ce e

h#3e the ori(i& of the o%u$i&e #& Sourette 2#rt i& #fter -e#rs of the Euro2e#& st#(e #s the


17/93

ter$ "#cco$2%ishe co$2#&io&," ou% eu#%%- #22%- to oth. It is o&%- # sur$ise, -et histor- #s

e !&o is co&ti&u#%%- re2e#ti&( itse%fe3e& i& Sourette 2#rts, #& i& $ore se&ses th#& o&e.

Of sce&ic is2%#-s th#t it 2ossesse there #s %itt%e or &o&e, thou(h the eits #& e&tr#&ces to

the st#(e h# 2ro#%- so$e e3ice to e&ote the$. Wh#t the- 2ossesse i& the #- of 2ro2ertiesit is $ore th#& use%ess to s2ecu%#te, #s, h#te3er cou% e s#i, cou% o&%- e co&6ectur#%. I&

ressi&( their 2#rts 2ro2riet- i& costu$e, #& i& #heri&( to the h#its of the I&i#& Dr#$#,

see$s to h#3e ee& oser3e ith so$e sho of co&siste&c-.

The hi&ese Dr#$# #%so #rose fro$ the Hi&oo e3e%o2i&( itse%f #s ti$e ro%%e o& fro$P#&to$i$es #& #%%ets. A 3er- #&cie&t P#&to$i$e is s#i to h#3e ee& s-$o%ic#% of the

co&uest of hi - Wou W#&(. Others ere o& su6ects of the H#r3est, W#r, #& Pe#ce< hi%st

$#&- ere o&%- of #& oscure ture. With the rise #& 2ro(ress of the ti3e r#$# #out fi3ehu&re -e#rs efore hrist P#&to$i$es fe%% i&to isre2ute.

It is i&teresti&( to &ote th#t o&e of the 2e% coes of the e%esti#% E$2ire #s, th#t those horote 2%#-s ith 3icious, or i$$or#% te&e&cies, shou% st#- i& "2ur(#tor-" #s %o&( #s their 2%#-s

ere 2erfor$e. This 2rece2t #s #%% ri(ht i& theor-, ut i& 2r#ctice it #s $ore ho&oure i& the re#ch th#& i& the oser3#&ce, #s #$o&(st the ho%e of the e%esti#% r#$#tic riters o&%- o&e i&#out te& thous#& see$s to h#3e co&for$e to this ru%e.

The r#$#tic riters of hi u%- oser3e the uestio& of r#&! #& 2riorit-, #& 6ust #s

$uch #s the ti3e Hi&oo riters oser3e th#t of the 3#rious 2h#ses of c#ste.

P%#-s ere i3ie i&to #cts #& sce&es, #& occ#sio%%- ere 2refie - # 2ro%o(ue.

Perfor$#&ces too! so$eti$es # si&(%e #-, #& f#3ourite 2%#-s ofte&ti$es %o&(er.

The )#2#&ese t-2e of r#$# see$s to h#3e ori(i%%- e3o%3e itse%f fro$ th#t of the hi&ese,thou(h its si&(i&(, #&ci&(, historic#%, #& P#&to$i$ic#% is2%#-s #re, of course, 2ure%- ti3e.

A ti3e of )#2#&, thou(h of hi&ese esce&t, H#u =##ts#, #t the c%ose of the Kth ce&[email protected]. (#3e r#$#tic e&tert#i&$e&ts i& )#2#&. The )#2#&ese c%#i$ for the P#&to$i$ic#% #&ce

S#$so #s # 2re3e&t#ti3e of e#rthu#!es #& 3o%c#&ic eru2tio&s< #& this #&ce, it is s#i, th#t

ithi& rece&t -e#rs, is use #s # 2re%ue to r#$#tic e&tert#i&$e&ts.

Iso&o 5e&6i is thou(ht to h#3e ee& the ori(itor of the )#2#&ese Dr#$#, ut her 2erfor$#&ces ere $ore those of the Mima #&ci&( #& 2osturi&(.

I& the se3e&tee&th ce&tur- S#ru#!# =#&4#urM i&trouce the r#$# 2ro2er i&to )#2#& -

the erectio&, i& 1K, of # the#tre, #& &e#r%- fift- -e#rs %#ter th#& the first 2er$#&e&t the#tre th#t

#s erecte @1K i& E&(%#&.

Po2u%#r historic#% su6ects ere chose& for the 2%#-s, thou(h the $es of the ch#r#cters eretr#&sfor$e. +#&c- 2%#-s, o2er#s, #%%ets, hich i& the %#tter o$e& #22e#re, ec#$e #%so 3er-

2o2u%#r.

Withi& si(ht of the c%osi&( -e#rs of the %#st ce&tur- @the &i&etee&th, )#2#&ese #ctors ere

$ore or %ess u&er # #& he& the s#$e #s h#22i%- re$o3e.

Si#$ #s co&te&t ith the I&i#& st-%e of r#$#tic #& P#&to$i$ic e&tert#i&$e&ts. The#tric#%

2erfor$#&ces ere #%so s%i(ht%- !&o&thou(h &o re(u%#r t-2e of r#$# is !&o&#$o&(st


18/93

the South Se# Is%#&ers, the Peru3i#&s, the A4tecs, the 5u%us, #& the +i6is, the to %#st $e

h#3i&( # si$i%#r 3ersio& of our 2o2u%#r P#&to$i$e su6ect, ")#c! #& the *e#&st#%!."

The E(-2ti#&s 2ossesse &o re(u%#r t-2e of r#$#, -et i& oth the *oo!s of )o #& Ruth the

r#$#tic e%e$e&t is stro&(%- $#r!e. At the rustic festi3#%s of the ti3e (os, #s i& Greece #&It#%-, there #s, hoe3er, the r#$#tic e%e$e&ts of the u&io& of so&(, #&ce, #& P#&to$i$e,

#& e #re to% th#t the 2riests &ot o&%- stuie $usic, ut #%so t#u(ht the #rt to others. A(#i& i&

the rites of the e# the /-steries of the se2u%ture o3er the tr#&s$i(r#tio& of sou%s, the r#$#tice%e$e&t e&tere %#r(e%- i&to these $-stic rites #& ce%er#tio&s. A$o&(st the P#(#& Gree!s, #s I

h#3e 2re3ious%- st#te, #& the Ro$#&s, e %e#r& of si$i%#r ce%er#tio&s, c#rrie out ith (re#t

2o$2 #& cere$o&-, such #s the #2otheosis of the sou% e2#rti&( fro$ its e#rth%- to its he#3e&%-#oe.

CHAPTER I4.

5Dan-ing,5 i.e. Pano!i!"%r"-ian Dan-ing an# Pano!i!i- S-"n"%

Ario'"%Ho!"r%Dan-" -o!!on o +o& r""6 an# Ro!an.

I& tr#ci&( the Histor- of P#&to$i$e it eco$es # $#tter of co&sier#%e ifficu%t-, #&, #s*#ro&, i& his Lettres sur la Danse, oser3es th#t he& the or D#&ci&( occurs i& #& o% #uthor,

th#t it shou% #%#-s e tr#&s%#te - "(esticu%#tio&," "ec%#$#tio&," or "P#&to$i$e." Whe& e

re# th#t #& #ctress "#&ce" her 2#rt e%% i& the tr#(e- of /ee#, th#t # c#r3er cut u2 foo

#&ci&(, th#t He%i(o#%us #& #%i(u%# "#&ce" # iscourse for #& #uie&ce of st#te, e #re to

u&erst#& th#t the-#ctress, c#r3er, #& e$2erorec%#i$e, (esticu%#te, $#e the$se%3esu&erstoo i& # %#&(u#(e ithout ors. Acti&( is #%so ofte&ti$es co&fou&e ith #&ci&(, #&

it is, therefore, $#&ifest%- i$2ossi%e to isti&(uish &o o&e fro$ the other.

"The Gree!s," $e&tio&s *utteu, #22%ie the ter$ "D#&ci&(" to #%% $e#sure $o3e$e&ts,e3e& to $i%it#r- $#rchi&(. The- #&ce #&-here #& e3er-here< #& e #re to% th#t oth

their %i$s #& oies s2o!e.

-e%e #s su22ose - the Gree!s to h#3e t#u(ht #&ci&( o& /ou&t I# to the or-#&tes,

#& the- #%so s#- th#t it #s i& their cou&tr- th#t A2o%%o re3e#%e the Ter2sichore#& Art, #& th#tof /usic #& Poetr-.

After #%% this, it is &ot 3er- sur2risi&( th#t the- $#!e c%#i$ for the i&&o3#tio& of P#&to$i$e.This, of course, e !&o is iffere&t, #s e h#3e see& th#t, fro$ ti$e i$$e$ori#% P#&to$i$ic

sce&es #& #&ces h#3e ee& re2rese&te. #ssioorus #ttriutes its i&stitutio& to Phi%istio&<

Athee&s #ssi(&s it to Rho#$#&thus, or to P#%#$ees.

With the Gree!s, P#&to$i$es ec#$e 3er- 2o2u%#r, #& the- ere isti&(uishe - 3#rious$es. *efore the- e(#& their Tr#(eies the Gree!s use to (i3e # P#&to$i$ic is2%#-. The

2ri&ci2#% P#&to$i$ists ere !&o& #s Ethologues, $e#&i&( 2#i&ters of $#&&ers. O&e of the

$ost ce%er#te of these /i$es #s So2hro& of S-r#cuse. I& e2icti&( the co&uct of $#& so


19/93

f#ithfu%%-, the P#&to$i$es of the Gree! /i$es ser3e to te#ch #& i&cu%c#te usefu% $or#%

%esso&s. The $or#% 2hi%oso2h- of the /i$e, So2hro&, #s so 2ure th#t P%#to !e2t # oo! of his

2oe$s u&er his 2i%%o he& o& his e#th>e. *esies these /or#%ities, #s the- ere ter$e,there ere, i& #itio&, %i(ht 2ieces of # f#rcic#% !i&, i& the 2ortr#-#% of hich the /i$es ere

eu#%%- #s successfu% #s i& the other s2ecies.

The #&ci&( of the Gree!s #s #& #ctu#% %#&(u#(e, i& hich #%% se&ti$e&ts #& 2#ss#(es ere

i&ter2rete. *- the #i of the Ter2sichore#& Art, Professor Desr#t s#-s, "Th#t the Gree!s, # tio&of heroes, tr#i&e the$se%3es i& the #rt of h#&>to>h#& co$#t."

"D#&ci&(," s#-s #&other riter, "#& i$it#ti3e #cti&( i& the %oer st#(es of ci3i%i4#tio& #re

ie&tic#%, #& i& the s#cre #&ces of #&cie&t Greece e $#- tr#ce the ho%e Dr#$#tic Art of the

$oer& or%. The S2#rt#&s 2r#ctise #&ci&( #s # (-$stic eercise, #& $#e it co$2u%sor-u2o& #%% chi%re& fro$ the #(e of fi3e."

A& e #re #%so to% th#t re%i(ious 2rocessio&s e&t ith so&( #& #&ce @#&, of course,P#&to$i$e, to the E(-2ti#& te$2%es< the ret#& chorus s#&( h-$&s to the Gree! (os< D#3i

#&ce i& 2rocessio& efore the Ar! of the o3e&t< #& th#t e #re to "Pr#ise the Lor ith thesou& of the tru$2et, 2r#ise Hi$ ith the 2s#%ter- #& the h#r2< 2r#ise Hi$ ith the ti$re% #&the dance."

Aristot%e s2e#!s of /i$etic #&ces three hu&re -e#rs efore the Au(ust#& er#. He #%so s#-s

th#t #&cers #&t &either 2oetr- or $usic, #s - the #ssist#&ce of $e#sure #& c#e&ce o&%- the-

c#& i$it#te hu$#& $#&&ers, #ctio&s, #& 2#ssio&s.

A(#i&, "Ho$er, escrii&( the e$2%o-$e&t of the De%i#& 2riestesses, or Nu&s, of the orer of St. A2o%%o of De%os, th#t the- ere (re#t #e2ts i& the Art of /i$icr-, #& th#t 2#rt of the

e&tert#i&$e&t hich the- #ffore to the &u$erous 2eo2%e of iffere&t tio&s< ho for$e their

co&(re(#tio&s #s, #s the 2oet e2resses it, fro$ their being s%illed to imitate the &oices and the

"ulsation or measure of all nations and so exactl (as their song ada"ted that e&er man (ould thin% he himself (as singing ."

Ho$er #%so $e&tio&s # #&ce i&3e&te for Ari#&e. I& the $ist of the #&cers, there ere to

#&cers ho s#&( the #3e&tures of D#e#%us, su22%e$e&ti&( their si&(i&( - (estures, #&

e2%#i&i&( i& P#&to$i$e the su6ect of the ho%e 2erfor$#&ce.

The P-rrhic #&ce of the Gree!s #s # sort of $i%it#r- P#&to$i$e. The Gree!s h# se3er#%!i&s of P-rrhic #&ces, the $es of hich 3#rie ith the ch#r#cter of the 2erfor$#&ce.

&he +yploachia iitated a fight with shields.

&he ,kiaachia was a #attle with shadows$

&he Monoachia was an iitation of single co#at.

So$e of the /i$etic #&ces co$$o& to oth Gree!s #& Ro$#&s ere The Lo3es of Ao&is

#& 7e&us, the E2%oits of A6#, the A3e&tures of A2o%%o, the R#2e of G#&-$ee, the Lo3es of )u2iter #& D#e, the *irth of )u2iter, Hector, the R#2e of Euro2#, the L#ours of Hercu%es,

Hercu%es /#, the Gr#ces, S#tur& e3ouri&( his hi%re&, the -e%e i& ho&our of -e%e, the

-c%o2s, the Sorros of Nioe, the Tr#(ic E& of Se$e%e, the W#rs of the Tit#&s, the )u($e&tof P#ris, D#2h&e 2ursue - A2o%%o, the *uco%ic D#&ce, #& the D#&ce of +%oers.


20/93

CHAPTER 4.

T&"/i%T&" Progr" of Trag"#$ an# Co!"#$%A"-&$'*%T&" E/o/7"%

Ho!"r%So/&o-'"%E*ri/i#"%r"-ian Mi!"%T&" Fir A&"nian T&"ar"%

S-"n"r$ an# Eff"-.

Whe& Thes2is first 2oi&te out the tr#(ic 2#th, #& he& @#s Hor#ce te%%s us i& his Oes th#t"The i&3e&tor of the Art c#rrie his 3#(r#&t 2%#-ers o& # c#rt," - his i&trouctio& of # &e

2erso(e, ho re%ie3e the chorus, or troo2 of si&(ers, - reciti&( so$e 2#rt of # e%%>!&o&

histor-, or f#%e, hich (#3e ti$e for the chorus to rest. A%% th#t the #ctors re2e#te etee& theso&(s of the chorus #s c#%%e #& e2isoe, or #itio% 2#rt, co&sisti&( ofte& of iffere&t

#3e&tures, hich h# &o co&&eio& ith e#ch other. Thus P#&to$i$e, the so&(, #& the #&ce,hich ere #t first the o&%- 2erfor$#&ces, ec#$e (r#u#%%- #& i&se&si%- # &ecess#r- #&

or$e&t#% 2#rt of the r#$#.

+ro$ this ti$e, the #ctor, or reciter, #s $ore #tte&e to th#& the chorus< hoe3er, his 2#rt#s eecute, #& it h# the 2oerfu% ch#r$s of &o3e%t- to reco$$e& it, #& uic!%- oscure

the %ustre of the chorus, hose so&(s ere &o of # iffere&t ture, i&so$uch th#t the ori(i%

su6ect of the$, the 2r#ise of *#cchus, #s - e(rees either s%i(ht%- $e&tio&e, or tot#%%- 2#sse o3er #& for(otte&< the 2riests, ho e $#- su22ose for # %o&( ti$e 2resie o3er the

ho%e, ere #%#r$e #t so o2e& # co&te$2t of the eit-, #& u&i$ous%- ec%#i$e, th#t this

#s &othi&( to *#cchus< the co&te$2t (re i&to # !i& of 2ro3eri#% s#-i&(, #& #s such ish#&e o& to us.

+ro$ the ori(i& of Tr#(e- #& o$e-, #& to the #-s of Thes2is, #& fro$ this ti$e to th#t

of Aesch-%us, #%% is out, co&6ecture, #& oscurit-< &either Aristot%e, &or #&- other #&cie&t

riter, (i3es us the %e#st i&si(ht i&to the st#te #& 2ro(ress of the Gree! Dr#$#< the $es of #

fe, #& ut # fe, tr#(ei#&s, uri&( this #r! 2erio, #re h#&e o& to us< such ereE2i(e&es, the Sic-o&io&, #& Pr#tis, ho rote fift->to 2%#-s, thirt->to of hich #re s#i to

e s#tiric#%. After Thes2is, c#$e his scho%#r Phr-&icus, ho rote &i&e tr#(eies< for o&e of

hich, e #re to%, he #s fi&e fift- r#ch$#s, ec#use he h# $#e it @#& o re#so& tooee2, #& too #ffecti&(< there #s #&other, #%so $e Phr-&icus, #uthor of to tr#(eiesB to

these $ust e #e A%c#eus, Phor$us, #& hoerit#s, to(ether ith e2hisoorus, #& Athe&i#&,

ho rote the "A$#4o&," #& A2o%%o2h#&es, su22ose to h#3e ee& the #uthor of # tr#(e-

$e "D#u%is," thou(h Sui#s is of #&other o2i&io&. Tr#(e- h#, uri&( the %i3es of theseriters, 2ro#%- $#e ut # s%o 2ro(ress, #& recei3e ut 3er- %itt%e cu%ture #&

i$2ro3e$e&t< he& #t %e&(th the (re#t Aesch-%us #rose, ho, fro$ this rue #& u&i(este

ch#os, cre#te #s it ere # &e or% i& the s-ste$ of %etters.

Poets, #& 2erh#2s e2ic 2oets, there $i(ht h#3e ee& efore Ho$er @the %#tter, ho, i& #%% 2ro#i%it-, %i3e ithi& fift- -e#rs of the +#%% of Tro-10 *... Dr#$#tic riters there

cert#i&%- ere efore Aesch-%us the for$er &otithst#&i&(, e $#-, ith the ut$ost 2ro2riet-,


21/93

st-%e the i&3e&tor #& f#ther of heroic 2oetr-, #& the %#tter of the #&cie&t r#$#, hich, efore

his ti$e, oes &ot #22e#r to h#3e h# #&- 2#rticu%#r for$ ut th#t of P#&to$i$e, so&(, #& the

u&io& of so&( #& #&ce. Aeschlus first introduced dialogue, th#t $ost esse&ti#% 2#rt of tr#(e-,#& - the #itio& of the seco& 2erso(e, thre the ho%e f#%e i&to #ctio&, #& restore the

chorus to its #&cie&t i(&it-.

Aesch-%us h#3i&(, %i!e # te&er 2#re&t, e&oe his #r%i&( chi% ith e3er- $e&t#%

#cco$2%ish$e&t, see$e reso%3e th#t &o eter% or$e&ts shou% e #&ti&( to re&er her u&i3ers#%%- #$i#%e< he c%othe her, therefore, i& the $ost s2%e&i h#it, #& estoe u2o& her

e3er-thi&( th#t Art cou% 2rouce, to hei(hte& #& i$2ro3e her ch#r$s. Aesch-%us, ho ei&(

hi$se%f #uthor, #ctor, #& $#(er, too! u2o& hi$ the ho%e co&uct of the r#$#, #& i &ot&e(%ect #&- 2#rt of it< he i$2ro3e the sce&er- #& ecor#tio&s, rou(ht his #ctors i&to # e%%

co&structe the#tre, r#ise his heroes o& the cothurnus, or us!i&, i&3e&te the $#s!s, #&

i&trouce s2%e&i h#its ith %o&( tr#i&s, th#t (#3e #& #ir of $#6est- #& i(&it- to the

2erfor$ers.

+ro$ the ti$e he& Tr#(e- e(#& to #ssu$e # re(u%#r for$, e fi& her c%ose%- fo%%oi&(

the ste2s of e2ic 2oetr-< #%% the 2#rts of e"o")e, or heroic 2oe$, $#- e tr#ce i& tr#(e-,thou(h, #s Aristot%e oser3es, #%% the 2#rts of tr#(e- #re &ot to e fou& i& the e"o")e< he&ce

the 2#rtis#&s of the st#(e ith so$e re#so& co&c%ue, th#t 2erfectio& i& the for$er is $oreifficu%t to e #tt#i&e th#& i& the %#tter. Without e&teri&( i&to # is2ute, e $#- 3e&ture,

hoe3er, to s#- th#t fro$ Ho$er the tr#(ei#&s re the 2%#&, co&structio&, #& co&uct of their

f#%es, #& &ot u&freue&t%-, the f#%e itse%f< to hi$ the- #22%ie for 2ro2riet- of $#&&ers,ch#r#cter, se&ti$e&t, #& ictio&.

+ro$ this er# the&, e #re to co&sier Tr#(e- #s #& e%e(#&t #& &o%e structure, ui%t

#ccori&( to the ru%es of #rt, s-$$etr-, #& 2ro2ortio&< hose e3er- 2#rt #s i& itse%f f#ir, fir$,

#& co$2#ct#& #t the s#$e ti$e co&triute to the e#ut-, uti%it-, #& ur#tio& of the ho%e

eifice.

So2hoc%es #& Euri2ies c#refu%%- stuie the 2%#& %#i o& - Aesch-%us, #& - their su2erior (e&ius #& 6u($e&t, i$2ro3e it i& # short ti$e to its hi(hest st#te of 2erfectio&, fro$

hich it (r#u#%%- ec%i&e to the rise of the Ro$#& Dr#$#.

Aesch-%us, So2hoc%es, #& Euri2ies ere the three (re#t tr#(ic 2oets< #& fro$ the or!s of

these three i%%ustrious riters, #& fro$ the$ #%o&e, e $ust r# #%% our !&o%e(e of the#&cie&t Gree! Tr#(e-.

o$e-, %i!e Tr#(e-, oes its ori(i& to the u&io& of $usic, so&(, #&ce, #& P#&to$i$e<

Tr#(e- to the ith-r#$ic!, #& o$e- to the 2h#%%ic#< #& e#ch of the$ @e$u%#ti&(

P#&to$i$e, e(#& to for$ the$se%3es i&to r#$#tic i$it#tio&s< e#ch stuie to #o2t # $e#suresuite to their 2ur2oseBTr#(e-, the $ore %oft-, chose the tetr#$eter< #& co$e-, hich

#i$e #t f#$i%i#rit-, the i#$ic. *ut, #s the st-%e of tr#(e- i$2ro3e, N#ture herse%f, s#-s

Aristot%e, irecte the riters to ##&o& the c#2eri&( tetr#$eter, #& to e$r#ce th#t $e#sure

hich #s $ost #cco$$o#te to the 2ur2oses of i#%o(ue< he&ce the i#$ic ec#$e theco$$o& $e#sure of oth Tr#(e- #& o$e-.

So2hoc%es rou(ht o& # thir #ctor, hich &u$er #s &ot eceee i& the Gree! tr#(eies

uri&( the s#$e sce&e. Hor#ce #%%ues to this, "nec *uarta lo*ui "ersona laboret ," @Let &ot #


22/93

fourth 2erso& stri3e to s2e#!B ut it #s &ot oser3e i& co$e-. P%#-ers of seco& 2#rts ere

o%i(e to s2e#! so %o #s &ot to ro& the 3oice of the chief #ctor. T-r#&ts ere #%#-s 2%#-e

- su#%ter&s. The o$e& ere o&%- #&cers @#& P#&to$i$ists. +e$#%e 2#rts ere 2erfor$e - eu&uchs.

O& the Greci#& st#(e, those 2erfor$ers ho e3ote the$se%3es e&tire%- to the Art of /i$i&(

ori(i%%- c#$e fro$ Sici%- #& souther& It#%-, thou(h the e#ct 2erio is ifficu%t to eter$i&e

ith #&- e(ree of cert#i&t-.

The fi(ures of tr#(ic or co$ic #ctors ere !&o& - the %o&( #& str#it s%ee3es hich the-ore. The ser3#&ts i& co$e-, e%o the ress ith str#it s%ee3es, h# # short c#ssoc! ith h#%f>

s%ee3es. Th#t the ch#r#cters $i(ht e isti&(uishe @# ifficu%t- i& this res2ect #risi&( fro$ the

si4e of the the#tres 2#r#sites c#rrie # short tru&cheo&< the rur#% eities, she2hers, #& 2e#s#&ts,the croo!< her#%s #& #$#ss#ors, the caduceus< !i&(s, # %o&(, str#i(ht sce2tre< heroes, # c%u,

etc. The tu&ic of tr#(ic #ctors esce&e to the hee%s, #& #s c#%%e "alla. The- (e&er#%%-

c#rrie # %o&( st#ff or #& erect sce2tre. The- ho re2rese&te o% $e&, %e#&e u2o& # %o&( #&

croo!e st#ff.

The first Gree! the#tre #t Athe&s @s#-s +osro!e, i& his "A&tiuities," #s # te$2or#r-structure of o#rs, re$o3e #fter the 2erfor$#&ces ere c%ose. This f#shio& co&ti&ue ti%% the

erectio& of the the#tre of *#cchus, #t Athe&s, hich ser3e #s # $oe% for the others. The Gree!

the#tre #s &o $ore th#& # co&c#3e see2, scoo2e out of the ho%%o sie of # hi%%, (e&er#%%-f#ci&( the se#. The see2 #s fi%%e ith se#ts, risi&( #o3e e#ch other, #& #sce&e -

st#irc#ses, 2%#ce %i!e the radii of # circ%e. This se$i>circu%#r for$ #s #o2te &ot $ere%- for

co&3e&ie&ce of 3isio&, ut for #& #i to the sou&. This r#&(e for s2ect#tors #s c#%%ethe coilon or ho%%o. The #re# e%o #s the conistra, or 2it. There #s &o su2erstructure for #

(#%%er-, ut #rou& the ri$ of the ui%i&( ere 2orticos, - hich the s2ect#tors e&tere, #&

hither the- cou% retire, if it r#i&e. The 2ortico 6ust #out the hi(hest corrior, or %o-, #s

e&o$ite the cercs, #& use - the o$e&. Where is &o the orchestr#, #s # 2%#tfor$,c#%%e - th#t $e< #& here, #$o&( the Gree!s, ere st#tio&e the $usici#&s< chorus #&

/i$es< #$o&( the Ro$#&s, the E$2eror, Sete, #& other 2erso&s of u#%it-. Se3e& feet #o3e

the orchestr#, #& e%e3e& #o3e the conistra, or 2it, #s the fro&t st#(e, or 2rosce&iu$, u2o&hich stoo #& #%t#r to A2o%%o. Here the 2ri&ci2#% #ctors 2erfor$e, #& the site of the #%t#r #s

e3ote to the #&ces @of the /i$es #& so&(s of the chorus. The 2#rt c#%%e the scena #s i&

%i&e ith the or$e&t#% co%u$&s, u2o& the sies of the st#(e.

The #&cie&t sce&er- #t first co&siste of $ere ou(hs, ut #fter#rs of t#2estr-, &ot 2#i&tec#&3#s. The Gree! st#(e co&siste of three 2#rts, the scena, #cross the the#tre, u2o& the %i&e of

the curt#i& i& our the#tres< the 2rosce&iu$, here the #ctors 2erfor$e< #& the 2ost>sce&iu$,

the 2#rt ehi& the house, efore>$e&tio&e. To for$ 2#rts of the sce&es there ere 2ris$s of

fr#$eor!, tur&i&( u2o& 2i3ots, u2o& e#ch f#ce of hich #s str#i&e # isti&ct 2icture, o&e for tr#(e-, co&sisti&( of %#r(e ui%i&(s, ith co%u$&s, st#tues, #& other corres2o&i&( or$e&ts<

# seco& f#ce, ith houses, i&os, #& #%co&ies, for co$e-< # thir #22%ie to f#rce, ith

cott#(es, (rottoes, #& rur#% sce&es. There ere the scenae &ersatiles of Ser3ius. *esies these,there ere scenae ductiles, hich re #c!#rs #& for#rs, #& o2e&e # 3ie of the

house, hich #s ui%t u2o& the st#(e, #& co&t#i&e #2#rt$e&ts for $#chi&er-, or retire$e&t for

the #ctors. As to the 2#tter&s of the sce&es, i& co$e-, the $ost co&sier#%e ui%i&( #s i& thece&tre< th#t o& the ri(ht sie #s # %itt%e %ess e%e3#te, #& th#t o& the %eft (e&er#%%- re2rese&te


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#& i&&. I& the s#tiric#% 2ieces the- h# #%#-s # c#3e i& the $i%e, # retche c#i& o& the ri(ht,

#& o& the %eft #& o% rui&e te$2%e, or so$e %#&sc#2e. I& these re2rese&t#tio&s 2ers2ecti3e #s

oser3e for 7itru3ius re$#r!s @. th#t the ru%es of it ere i&3e&te #& 2r#ctise fro$ theti$e of Aesch-%us, - # 2#i&ter $e A(#r#rchus, ho h#s e3e& %eft # tre#tise u2o& it. After the

o&f#%% of the Ro$#& E$2ire, these ecor#tio&s of the st#(e ere &e(%ecte, ti%% Peru44i, #

Sie&&ese, ho ie i& 1FK, re3i3e the$.

There ere three e&tries i& fro&t, #& to o& the sies< the $i%e e&tr- @ter$e the Ro-#%oor #s #%#-s th#t of the 2ri&ci2#% #ctor< thus, i& tr#(e-, it #s co$$o&%- the (#te of #

2#%#ce. Those o& the ri(ht #& %eft ere esti&e to the seco&>2#rt 2%#-ers, #& the to others,

o& the sies, o&e to 2eo2%e fro$ the cou&tr-, the other to those fro$ the h#rour, or #&- 2u%ic 2%#ce.

Po%%u i&for$s us, th#t there ere tr#2>oors for (hosts, furies, #& the i&fer% eities. So$e

u&er the oors, o& o&e sie, i&trouce the rur#% eities, #& o& the other the $#ri&e. The

#sce&ts or esce&ts ere $#(e - cors, hee%s, #& cou&ter>ei(hts. Of these $#chi&es

&o&e ere $ore co$$o& th#& those hich esce&e fro$ he#3e& i& the e& of the 2%#-, i&

hich the (os c#$e to etric#te the 2oet i& the denouement . The !i&s ere chief%- three< so$eco&3e-e the 2erfor$er #cross the the#tre i& the #ir< - others, the (os esce&e o& the st#(e<

#& # thir co&tri3#&ce, e%e3#te, or su22orte i& the #ir, 2erso&s ho see$e to f%-, fro$ hich#ccie&ts ofte& h#22e&e. @It is fro$ this th#t the e%%>!&o& 2hr#se " Deus ex machina" h#s its

ori(i&. As the #&cie&t the#tres ere %#r(er th#& ours, #& u&roofe, there #s &o hee%>or!

#%oft, ut the 2erfor$er #s e%e3#te - # sort of cr#&e, of hich the e#$ #s #o3e the st#(e<#& tur&i&( u2o& itse%f, hi%st the cou&ter>ei(ht $#e the #ctor esce& or #sce&, c#use hi$

to escrie cur3es, 6oi&t%- co$2ose of the circu%#r $otio& of the cr#&e, #& the 3ertic#% #sce&t.

The ana"esmata ere cors for the sue& #22e#r#&ce of furies, he& f#ste&e to the %oest

ste2s< #& to the #sce&sio& of ri3ers, he& #tt#che to the st#(e. The ceraunosco"ium #s # !i&of $o3e#%e toer, he&ce )u2iter #rte %i(ht&i&(, su22ose to e the Gree! fire, #s i& A6#

Oie%us. The $#chi&e for thu&er @bronton #s # r#4e& 3#se, co&ce#%e u&er the st#(e, i&hich thero%%e sto&es. +estus c#%%s it the %#ui#& thu&er, fro$ %#uius Pu%cher, thei&3e&tor. The $ost re#fu% $#chi&es ere, hoe3er, the "egmata @# (e&er#% ter$ #%so for #%% the

$#chi&es, hich first co&siste of sc#ffo%s i& stories, c. These first ehiite cri$i%s

fi(hti&( #t the to2, #& the&, ro22i&( to 2ieces, 2reci2it#te the$ to the %oer stor-, to e tor& to 2ieces - i% e#sts. So$eti$es the- ere for 3o$iti&( f%#$es, c. The theologium #s #

2%#ce $ore e%e3#te th#& the st#(e, here the (os stoo #& s2o!e, #& the $#chi&es hich

he% the$ reste.

The se#ts of the s2ect#tors ere i3ie i&to stories, e#ch co&t#i&i&( se3e& ros of se#ts, ith

to 2#ss#(es @ "raecinctiones #rou& the$ #o3e #& e%o. S$#%% st#irc#ses i3ie the se#tsi&to sectio&s, c#%%e cunei, #& e&e i& # (#te #t the to2, hich co$$u&ic#te ith 2#ss#(es

@the &omitoriae for #$issio&.

CHAPTER 4I.


24/93

Ro!an T&"ar"%D"-ri/ion%5D"a#&"a#5%Pano!i!" in Ia'$%Li0i*

An#roni-*% Fabulae Atellanae %E8"!/ora' Co!"#$%Origin of &" Ma)*",

O/"ra, an# 4a*#"0i''"%Origin of &" "r! Hirioni-%Er*-an%Po/*'ari$

of Pano!i!" in Ia'$%Pano!i!i +ani&"# +$ Tra3an%N"ro a a Mi!"%

P$'a#" an# Ba&$''*%S*+3"- -&o"n for &" Ro!an Pano!i!"%T&" Ba''"

%T&" Mimi an# Pantomimi % Archimimus %4"/aian%Har'")*in%5Mr.

P*n-&5%2an$, &o( &" (or# origina"#%An-i"n Ma6%L*-ian,

Caio#or*, an# D"!"ri* in /rai" of Pano!i!"%A -"'"+ra"# Mima %

Pano!i!" #"no*n-"# +$ "ar'$ (ri"r%T&" /*ri$ of &" Eng'i& ag"

-onra"# (i& &a of &" r"-ian an# Ro!an%F"!a'" /ar on &" r"-ian

an# Ro!an ag"%T&" /rin-i/a' Ro!an Mimas %T&" origin of &" C'o(n of &"

"ar'$ Eng'i& Dra!a.

The Ro$#& the#tres @co&ti&ues +osro!e ere of # si$i%#r D for$. To %oft- #rche

oor#-s e&tere i&to the 2it. I& fro&t of the st#(e, hich #s 3er- sh#%%o, #s # 2e>%i!e

orchestr#. The 2rosce&iu$ #s 3er- rro, #& i&ste# of # ro2 sce&e #s the elisium, #house, rro, ith # !i& of o i&o fro&t i& the ce&tre, #& # oor o& e#ch sieB for Po%%u

s#-s th#t # house ith to stories for$e 2#rt of the st#(e, he&ce o% o$e& #& 2#&ers use

to %oo! o& #& 2ee2 #out the$. Withi& the house ere #2#rt$e&ts. Arou& the #c! of thest#(e #s # "orticus. At Hercu%#&eu$, o& # #%ustr#e hich i3ie the orchestr# fro$ the

st#(e, #s fou& # ro of st#tues, #& o& e#ch sie of the "ul"itum, #& euestri#& fi(ure. *e%o

the the#tre @(re#t #& s$#%% #s # %#r(e su#re co&structe, s#-s 7itru3ius, for the rece2tio& of the #uie&ce i& # e#ther. It co&siste of Doric co%u$&s, #rou& #& o2e& #re#, for$i&( #&

#$2%e 2ortico for this 2ur2ose, hi%st u&er it ere #rr#&(e cellae, or #2#rt$e&ts, #$o&(st

hich ere # so#2 $#&uf#ctor-, oi% $i%%, cor& $i%%, #& 2riso&. A& i&&er logia#s co&&ecteith # suite of #2#rt$e&ts. There #s #%so #& exedra, or recess.

A$o&( the Ro$#&s, the#tric#% #22ro#tio& #s si(&ifie - #& #rtifici#% $usic#% !i& of &oise,

$#e - the #uie&ce to e2ress s#tisf#ctio&. There ere three s2ecies of #22%#use e&o$ite

fro$ the iffere&t &oises $#e i& the$, 3i4.B +ombus, ,mbrius, #& -estae.

+irst, # co&fuse i&, $#e either - the h#&s or $outh. The seco& #& thir, - e#ti&( o&

# sort of sou&i&( 3esse% 2%#ce i& the the#tres for th#t 2ur2ose. Perso&s ere i&structe to (i3e#22%#use ith s!i%%#& there ere e3e& $#sters ho 2rofesse to te#ch the #rt. The 2roficie&ts

i& this #- %et the$se%3es out for hire to the 2oets, #ctors, c., #& ere so is2ose #s to

su22ort # %ou #22%#use. These the- c#%%e Laudicena. At the e& of the 2%#-, # %ou 2e#% of #22%#use #s e2ecte, #& e3e& #s!e of the #uie&ce either - the chorus or - the 2erso& ho

s2o!e %#st. The for$u%# #s ""ectatore !laudite," or "$alete et Plaudite." The #22%#uers ere

i3ie i&to !hori, #& is2ose i& the#tres o22osite to e#ch other, %i!e the choristers i&c#ther#%s, so th#t there #s # !i& of co&cert of #22%#use. The free #$issio& tic!ets ere s$#%%

i3or- e#th's he#s, #& s2eci$e&s of these #re to e see& i& the /useu$ of N#2%es. +ro$ this

custo$, it is st#te, th#t e eri3e our or "De#he#," #s e&oti&( o&e ho h#s # freee&tr#&ce to 2%#ces of #$use$e&t.

With the #& of the Ro$#& E$2ire, P#&to$i$e, i& It#%-, is first #uthe&tic#%%- $e&tio&e.

The E$2eror Au(ustus #%#-s is2%#-e (re#t f#3our to the Art, #& e3e& - so$e riters he


25/93

h#s ee& creite ith ei&( the ori(itor of P#&to$i$e. This, of course, #s e h#3e see&, is

i$2ossi%e, #& to use # f#$i%i#r #& trite s#-i&(, the P#&to$i$ic Art is "#s o% #s the hi%%s"

the$se%3es. A(#i&, *#th-%%us #& P-%#es @oth free s%#3es, the for$er or& i& i%ici#, #& the%#tter c#$e fro$ A%e#&ri#, #& H-%#s, the 2ri&ci2#% e2o&e&ts of P#&to$i$e uri&( the rei(&

of Au(ustus, h#3e #%so ee& creite ith the ho&our of ori(iti&( P#&to$i$e.

The e#r%- Ro$#& e&tert#i&$e&ts o&%- co&siste of the $i%it#r- #& s#cre #&ces, #& the

sce&es i& the circus. With the #3e&t of the #rts of Greece the #usterit- hitherto 2r#ctise - theRo$#&s, hich h# #rise&, s#-s Dur#-, "/uch $ore fro$ 2o3ert- th#& co&3ictio&," for "To or

three (e&er#tio&s h# suffice to ch#&(e # cit- hich h# o&%- !&o& $e#(re festi3ities #&

rustic e%i(hts i&to the ho$e of re3e%r- #&

Documents

A History of Pantomime, By R.J.broadbent