5. Catullus' first epithalamium (LXI) is an imitation (V. 122 sqq.) of the national custom. Comp. Auson. Id. XIII s. f.: quid Anniani fescenninos (loquar)? Of Claudianus we possess in nuptias Honorii Aug. et Mariae fescennina (4 poems in different metres). On the other hand see Macrob. Sat. II 4, 21: temporibus triumviralibus Pollio, cum fescenninos in eum Augustus scripsisset, ait: at ego taceo, non est enim facile in eum scribere qui potest proscribere.

6. According to Diomedes III p. 475 P. = 479, 12 K., the (later) grammarians called the amphimacer or cretic also fescenninus and amphimeres. But the original metre of the Fescenninae (as far as they may have been at all metrical) was no doubt the Saturnian line. The Fescenninae never made their way to the stage.

6. In the Saturae the dramatic element seems to have prevailed from the beginning. Most likely, they were merry performances of the country clowns of Latium, separate songs or comic stories, recited with gesticulation and dancing to the accompaniment of a tibia, more varied in their occcasions and subjects than the Fescenninae. They belonged to the popular festivities, and when in the year 390 (A. v. c.) a public stage was erected at Rome, they were also enacted on it by wandering mountebanks. Later on, when regular dramas in the Greek fashion were established among the public entertainments, they were joined to them and thus gradually came to be looked upon as farces or after-plays, exodia, though this place was afterwards occupied by the Atellanae.

1. With regard to the saturae all is obscure and uncertain. Something may be gathered from the expression saturas agere (Liv. VII 2,7 : impletas modis saturas descripto iam ad tibicinem cantu motuque congruenti peragebant), the adaptation to the stage and so passing into the sense of exodia; see Liv. 1. 1. 11: iuventus histrionibus fabellarum actu relicto ipsa inter se more antiquo ridicula intexta versibus iactitare coepit; quae exodia postea appellata . . sunt.

2. Derivation of the name. Diomed. III p. 483 P. 485 sq. K.: satira dicta sive a Satyris, quod similiter in hoc carmine ridiculae res pudendaeque dicuntur, quae velut a Satyris proferuntur et fiunt; sive satura a lance, quae referta variis multisque primitiis in sacro apud priscos dis inferebatur . . .; sive a quodam genere farciminis, quod multis rebus refertum saturam dicit Varro vocitatum. The second of these derivations was long preferred, the name being explained now of the variety of the contents, now of the mixture of singing, dancing, mimus and words; though the special mention of variety leads us to suppose the existence of uniform rules, a point which applies only to the later kind of literary Satire. Mommsen, R. Hist. 12 p. 28. 206. 430, has revived the first derivation in a modified form. According to him, satura is "the

1

masque of the full men," (oárvoo, saturi, cf. Tibull. II 1, 23 saturi . . coloni) "the song enacted at a popular carnival". If so, what substantive accounts for the feminine form of the word? Is it to be res? But comp. also the Italian farsa (prop. stuffing, mixture) and the Arabic kind of poetry Quasside (orig. the full, the satisfied, H. Ewald Gött. Gel. Anz. 1861 p.833).

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3. A wooden stage in the Circus was erected for performances to amuse the people (by mimi, see § 7) in the year 390 364 B. c., Liv. VII 2. Fest. p. 326, a.: scenicos (ludos) primum fecisse C. (Ati- ?)lium, M. Popilium M. f. (Cos. 395 A. v. C.) (curules) aediles memoriae (prodiderunt) historici. Mommsen I. p. 340: "The new stage was, indeed, originally intended for players and mountebanks of all kinds, among whom the dancers to the accompaniment of the flute, especially the Etruscans, who then enjoyed a great reputation, may have been the most prominent"; but a starting-point was thus given for a regular theatre such as was commenced by Andronicus 120 years later. After the introduction of a regular book for the play, adopted from the Greek, the old songs to a tibia may have still been used for filling up the intervals, while the farcical performances, in like manner as the Greek Satyr-drama, were added after the serious performances which were in accordance with the rules of art.

4. Exodium denotes a merry farce acted after a serious play; cf. Plut. Crass. 33: εἰς τοιοῦτό φασιν ἐξόδιον τὴν Κράσσου στρατηγίαν, ὥσπερ τραγῳδίαν, τελευτήσαι. Comp. Pelopid. 34: τὴν ταφὴν οἷον τραγῳδίας μεγάλης, τῆς τυραννίδος ἐξόδιον θεατρικὸν γενομένην. Schol. Iuv. III 175: exodiarius apud veteres in fine ludorum intrabat, quia ridiculus foret, ut quidquid lacrimarum atque tristitiae conlegissent ex tragicis affectibus huius spectaculi risus detergeret. After the disappearance of the old saturae, the Atellanae and mimi were especially used for this purpose; hence Atellanicum exodium (Suet. Tib. 45), exodium Atellanae (Iuv. VI 71) and Lyd. de mag. I 40: Ατελλάνη ἐστὶν ἡ τῶν λεγομένων ἐξοδιαρίων. Erroneously Livy VII 2, 11: quae exodia postea appellata consertaque fabellis potissimum Atellanis sunt.

7. The mimus being a farcical representation on the stage of persons and actions, is in all probability at Rome of about the same age as the stage itself. Originally these mimi may have been acted on the stage by themselves, but when performances of a serious nature had gained the ascendency, they were employed as after-plays, though for a long time they were less popular than the newly accepted Atellanic farces; until in Cicero's time the Mimus also obtained a place in literature and then maintained itself on the stage all the longer, at first as an after-play, but also in the Imperial period by itself.

Diomed. III p. 488 P. = 491, 13 sqq. K.: mimus est sermonis cuiuslibet motus (sermonem movere, like iocum movere in Sall. Cat. 25) sine

reverentia, vel factorum et (etiam) turpium cum lascivia imitatio; a Graecis ita definitus: μιμός ἐστι μίμησις βίου τά τε συγκεχωρημένα καὶ ασυγχώρητα περιέχων. In the same manner Euanthius states that the mimi were named so ab diuturna imitatione vilium rerum et levium

personarum, and Isid. Or. XVIII 49: mimi sunt dicti graeca appellatione quod rerum humanarum sint imitationes. Plutarch, Quaest. sympos.VII 8, 4, distinguishes two kinds of μιμοι, ὧν τοὺς μὲν ὑποθέσεις, τοὺς δὲ παίγνια καλοῦσιν, both unfit for exhibition during dinner, the first δια τὰ μήκη τῶν δραμάτων καὶ τὸ δυσχορήγητον, and the παίγνια on account of their obscene character, although he adds that they did form a favourite amusement at dinner, even in the presence of women and boys. In the latter sense we find it e. g. in Polyb. XXXI 4: ini Twv μίμων ὁ βασιλεὺς εἰσεφέρετο . . ὡς εἰς ὧν τῶν μίμων. καὶ τῆς συμφωνίας προκαλουμένης ἀναπηδήσας ὠρχεῖτο καὶ ὑπεκρίνετο μετὰ τῶν γελωτοποιών. Literary history deals only with the first kind of mimus which bears a scenic character; as to the second kind, i. e. the uiuo as farcical representations in private circles, which belongs to the department of a the history of morals, see esp. O. Jahn's Prolegg. to his edition of Persius, p. LXXXIV-XCII. On the mimus of the Romans in general see Ziegler, de mimis Roman. Göttingen 1788, and espec. C. I. Grysar's essay on the Roman Mimus, Vienna 1854 = Sitzungsber. der Wiener Akad., philosophisch-hist. Cl. XII. p. 237-283, with the addenda p. 283-337, where, however, the different periods are not sufficiently separated. On later mimi see also E. Munck, de fab. Atell. p. 124 sqq. Krahner, Ztschr. für Alt. Wiss. 1852 p. 390 sqq. L. Friedländer, History of Roman manners. II2. · p. 298 sqq.

2. The mimus was "a very old creation of the people, and the productions of Laberius and Syrus differ no less from its original form than the literary form given to the Atellanae by Pomponius and Novius differs from their primitive form." J. Vahlen, Ztschr. für östr. Gymn. 1859. p. 291. In fact the mimus suited the Italian character (§. 3 sq.) and the culture of the Romans. As long as its character was not fixed in writing, not being strictly separated from the mountebank representations in every day life, it was left unnoticed. The traces of its existence in the time before Sulla have, however, been collected by M. Hertz, in the jahrb. edited by Fleckeisen XCIII. p. 581-583. The oldest trace occurs in Festus p. 326 M., where the writer, after mentioning the erection of a stage and the introdution of performances on it, thus proceeds: solebant (his prodire mimi) in orchestra (?), dum (in scena actus fa-)bulae componeren(tur, cum gestibus ob-)scaenis. Then follows a mention of ludi (Apollinares) Sulpicio C. Fulvio cos. (rather P. Sulp. Cn. Fulvio = 243 A. V. C., 211 B. C.) at which appeared a libertinus mimus magno natu qui ad tibicinem saltaret, and of the deviating opinion of Sinnius Capito, who placed the event Claudio et Fulvio cos. (542=212). See F. Osann, Festus and the first performance of mimi at Rome, Jahn's Jahrb. LXXIII. p. 660-663. In the seventh century are mentioned excesses of the mimi by nominatim compellare in scena (Cornif. ad Her. I 14, 24. II 13, 19) and in the year 639 Cassiodorus states that the

censors artem ludicram ex urbe removerunt. To the same period belongs the mimus vetus oppido ridiculus called Tutor, in Cic. de or. II 64, 259 (663 A. v. c.) Val. Max. II, 10, 8 notices the nudatio mimarum on the stage at the Floralia as a priscus mos iocorum. In like manner, the dexμìμos Zagi (Plut. Sull. 36) in the time of Sulla justifies conclusions as to an old organization of this class. It is possible that before the general acceptance of the name of mimus the same institution existed under the name of planipes, comp. Grysar p. 245 sq.

3. Diomed. III p. 487 P. = 490, 3 sqq. K.: quarta species (fabularum latinarum) est planipedis, qui graece dicitur uiμos. Ideo autem latine planipes dictus quod actores pedibus planis, i. e. nudis, proscenium introirent, non ut tragici actores cum cothurnis neque ut comici cum soccis ... cuius planipedis Atta.. ita meminit: daturin estis aurum? exsultat planipes. Festus p. 277 in.: mimi planipedes. Auson. ep. 11: de mimo planipedem. Juv. VIII 191: planipedes audit (populus) Fabios (comp. Suet. Ner. 4. Tac. Hist. III 62). Donat. de com.: planipedia autem dicta ob humilitatem argumenti eius ac vilitatem actorum, qui.. utuntur in scena.. plano pede. Gell. I 11, 10: si ut planipedi saltanti.. numeros et modos.. tibicen incineret. Macrob. Sat. II 12: planipedis et fabulonis (sannionis?) impudica.. verba iacientis. The identity of planipes and mimus may, therefore, be considered certain.

4. Cic. ad Fam. IX 16, 7: secundum Oenomaum Attii non, ut olim solebat, Atellanam, sed, ut nunc fit, mimum introduxisti. Comp. embolium (Cic. p. Sest. 54, 116) and emboliaria (Plin. N. H. VII 47, 158) in Sulla's time, and for the Imperial period Orelli 2513, also emboliarius (Garucci, graffiti d. Pompei p. 14). It may, perhaps, be concluded from Donatus' definition of siparium that later on mimi were sometimes used as after-plays: siparium, mimicum velum quod populo obsistit dum fabularum actus commutantur. Comp. Sen. tranq. 1, 8: Publilius .. inter multa alia cothurno, non tantum sipario, fortiora et hoc ait. Juv. VIII 185 sq. vocem . . locasti sipario, clamosum ageres ut Phasma Catulli. See also Sueton. Dom. 10: occidit et Helvidium filium, quasi scenico exodio (probably a mimus) sub persona Paridis et Oenones divortium suum cum uxore taxasset.

8. At the end of the republic the mimus was introduced into literature by D. Laberius, Publilius Syrus and perhaps Valerius. At the same time the number of its subjects was enlarged, and its form was assimilated to that of the other kinds of drama. Under the Emperors, when the Mimus prevailed in company with the silent pantomimus, books were written by Philistion, Catullus and Lentulus, besides whom we hear also of Hostilius, Marullus, Atticus, Vergilius Romanus, Aemilius Severianus and Aesopus. Our information about the character of the mimi of this period enables us to draw conclusions as to the original character of the whole

species, in making allowance for the over-refined character of a later time, and keeping in mind that after the absorption of all other kinds of drama in the mimus, a more varied action was developed in it and it arrived at greater independence.

1. Athen. VI. p. 261 C.: Nixóλaos (of Damasc.).. Zúllav gnoir .. οὕτω χαίρειν μίμοις καὶ γελωτοποιοῖς, φιλόγελων γενόμενον, ὡς καὶ πολλὰ γῆς μέτρα αὐτοῖς χαρίζεσθαι τῆς δημοσίας. ἐμφανίζουσι δ ̓ αὐτοῦ τὸ περὶ ταῦτα ἱλαρὸν αἱ ὑπ ̓ αὐτοῦ γραφεῖσαι σατυρικαὶ κωμῳδίαι τῇ nangiw qwvy, a passage explained of mimi by Grysar p. 287. Cf. Plut. Sull. 3 and 36. It is certain that in Caesar's time Laberius and Publilius Syrus wrote mimi, the latter of whom united in his person the characters of a writer and actor of mimi. In the Augustan time L. Crassicius, genere Tarentinus,.. initio circa scenam versatus est, dum mimographos adiuvat (Suet. gramm. 18.) It is doubtful if the senarii attributed by Seneca (Ep. 8, 9) to his Lucilius are from a mimus. For Atticus see Martial II 7, 3: componis belle mimos. Of Vergilius Romanus Pliny says Ep. VI 21, 4: scripsit mimiambos tenuiter, argute, venuste atque in hoc genere eloquentissime. Tertull. apolog. 15: dispicite Lentulorum et Hostiliorum venustates, utrum mimos an deos vestros in iocis et strophis rideatis. For Aesopus see Amm. Marc. XXX 4, 21; Aemilius Severianus (of Tarraco) mimographus, Orelli 2622. Subjects were adopted to pantomimes in the Imperial period by Arbronius Silo (Sen. suas. II 19, p.17, 9 Bu.: pantomimis fabulas scripsit), Lucan (fabulae salticae XIV, Vacca), Statius (Juv. VII 87).

2. Cic. de or. II 59, 242: mimorum est ethicorum si nimia est imitatio (caricatures), sicut obscenitas. Cf. ib. 239. orat. 26, 88: ridiculo sic usurum oratorem ut.. nec subobsceno (utatur), ne mimicum (sit). Ovid Trist. II 497 (obscena iocantes) and 515 (imitantes turpia). Quintil. VI 1, 47. The principal purpose was to provoke laughter: Hor. I 10, 6 sq. Apulei. Flor. I: si mimus est riseris, si comoedia faveris. Cassiod. Var. IV fin.: mimus, qui nunc tantummodo derisui habetur. Lyd. mag. I 40: μιμικὴ ἡ νῦν δῆθεν μόνη σωζομένη, τεχνικὸν μὲν ἔχουσα οὐδὲν λόγῳ, μόνον τὸ πλῆθος ἐπάγουσα γέλωτι. This was also done by means of making faces (Quintil. VI 3, 9), imitating the sounds of animals etc. Plan and general scheme. Cic. Phil. II 27, 65: persona de mimo, modo egens repente dives. p. Cael. 27, 65: mimi est iam exitus, non fabulae: in quo cum clausula non invenitur fugit aliquis ex manibus, deinde scabilla concrepant, aulaeum tollitur. Later on, greater accuracy was used: Quintil. IV 2, 53: est quidam etiam ductus rei credibilis, qualis in comoediis etiam et in mimis. Plut. de solert. anim. 19 (of the time of Vespasianus): μίμῳ πλοκὴν ἔχοντι δραματικὴν καὶ πολυπρό Specimens of a dialogue in Cic. de or. II 67, 274, e. g.: quid est tibi Ista mulier? „Uxor". Similis, me dius fidius. Laberius' prologue in Macrob. Sat. II 7, 2 sq. Cf. Isid. Orig. XVIII 49: habebant (mimi) suum actorem qui antequam mimum ageret fabulam pronuntiaret. On the cantica, see below n. 7.

σωπον.

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