That the public still in the Sullan age expected to see such, appears from the reproductions-- belonging to this epoch--of Plautine comedies with the titles and names of the persons altered, with reference to which the managers well added that it was better to see a good old piece than a bad new one. From this the step was not great to that entire surrender of the stage to the dead poets, which we find in the Ciceronian age, and to which Alexandrinism made no opposition. Its productiveness in this department was worse than none. Real dramatic composition the Alexandrian literature never knew; nothing but the spurious drama, which was written primarily for reading and not for exhibition, could be introduced by it into Italy, and soon accordingly these dramatic iambics began to be quite as prevalent in Rome as in Alexandria, and the writing of tragedy in particular began to figure among the regular diseases of adolescence. We may form a pretty accurate idea of the quality of these productions from the fact that Quintus Cicero, in order homoeopathically to beguile the weariness of winter quarters in Gaul, composed four tragedies in sixteen days.
The Mime Laberius
In the "picture of life" or mime alone the last still vigorous product of the national literature, the Atellan farce, became engrafted with the ethological offshoots of Greek comedy, which Alexandrinism cultivated with greater poetical vigour and better success than any other branch of poetry. The mime originated out of the dances in character to the flute, which had long been usual, and which were performed sometimes on other occasions, e. g. for the entertainment of the guests during dinner, but more especially in the pit of the theatre during the intervals between the acts. It was not difficult to form out of these dances--in which the aid of speech had doubtless long since been occasionally employed-- by means of the introduction of a more organized plot and a regular dialogue little comedies, which were yet essentially distinguished from the earlier comedy and even from the farce by the facts, that the dance and the lasciviousness inseparable from such dancing continued in this case to play a chief part, and that the mime, as belonging properly not to the boards but to the pit, threw aside all ideal scenic effects, such as masks for the face and theatrical buskins, and--what was specially important--admitted of the female characters being represented by women. This new mime, which first seems to have come on the stage of the capital about 672, soon swallowed up the national harlequinade, with which it indeed in the most essential respects coincided, and was employed as the usual interlude and especially as afterpiece along with the other dramatic performances.(9) The plot was of course still more indifferent, loose, and absurd than in the harlequinade; if it was only sufficiently chequered, the public did not ask why it laughed, and did not remonstrate with the poet, who instead of untying the knot cut it to pieces. The subjects were chiefly of an amorous nature, mostly of the licentious sort; for example, poet and public without exception took part against the husband, and poetical justice consisted in the derision of good morals. The artistic charm depended wholly, as in the Atellana, on the portraiture of the manners of common and low life; in which rural pictures are laid aside for those of the life and doings of the capital, and the sweet rabble of Rome-- just as in the similar Greek pieces the rabble of Alexandria-- is summoned to applaud its own likeness. Many subjects are taken from the life of tradesmen; there appear the-- here also inevitable--"Fuller," then the "Ropemaker," the "Dyer," the "Salt-man," the "Female Weavers," the "Rascal"; other pieces give sketches of character, as the "Forgetful," the "Braggart," the "Man of 100,000 sesterces";(10) or pictures of other lands, the "Etruscan Woman," the "Gauls," the "Cretan," "Alexandria"; or descriptions of popular festivals, as the "Compitalia," the "Saturnalia," "Anna Perenna," the "Hot Baths"; or parodies of mythology, as the "Voyage to the Underworld," the "Arvernian Lake." Apt nicknames and short commonplaces which were easily retained and applied were welcome; but every piece of nonsense was of itself privileged; in this preposterous world Bacchus is applied to for water and the fountain-nymph for wine. Isolated examples even of the political allusions formerly so strictly prohibited in the Roman theatre are found in these mimes.(11) As regards metrical form, these poets gave themselves, as they tell us, "but moderate trouble with the versification"; the language abounded, even in the pieces prepared for publication, with vulgar expressions and low newly-coined words. The mime was, it is plain, in substance nothing but the former farce; with this exception, that the character-masks and the standing scenery of Atella as well as the rustic impress are dropped, and in their room the life of the capital in its boundless liberty and licence is brought on the stage. Most pieces of this sort were doubtless of a very fugitive nature and made no pretension to a place in literature; but the mimes of Laberius, full of pungent delineation of character and in point of language and metre exhibiting the hand of a master, maintained their ground in it; and even the historian must regret that we are no longer permitted to compare the drama of the republican death-struggle in Rome with its great Attic counterpart.
Dramatic Spectacles
With the worthlessness of dramatic literature the increase of scenic spectacles and of scenic pomp went hand in hand. Dramatic representations obtained their regular place in the public life not only of the capital but also of the country towns; the former also now at length acquired by means of Pompeius a permanent theatre (699;(12)), and the Campanian custom of stretching canvas over the theatre for the protection of the actors and spectators during the performance, which in ancient times always took place in the open air, now likewise found admission to Rome (676). As at that time in Greece it was not the--more than pale-Pleiad of the Alexandrian dramatists, but the classic drama, above all the tragedies of Euripides, which amidst the amplest development of scenic resources kept the stage, so in Rome at the time of Cicero the tragedies of Ennius, Pacuvius, and Accius, and the comedies of Plautus were those chiefly produced.