The History of Rome, Book IV - Theodor Mommsen
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9. I. XV. Masks
10. With these names there has been associated from ancient times
a series of errors. The utter mistake of Greek reporters, that
these farces were played at Rome in the Oscan language, is now with
justice universally rejected; but it is, on a closer consideration,
little short of impossible to bring these pieces, which are laid in
the midst of Latin town and country life, into relation with the
national Oscan character at all. The appellation of "Atellan play"
is to be explained in another way. The Latin farce with its fixed
characters and standing jests needed a permanent scenery: the fool-
world everywhere seeks for itself a local habitation. Of course
under the Roman stage-police none of the Roman communities, or of
the Latin communities allied with Rome, could be taken for this
purpose, although it was allowable to transfer the -togatae- to
these. But Atella, which, although destroyed de jure along with
Capua in 543 (III. VI. Capua Capitulates, III. VI. In Italy),
continued practically to subsist as a village inhabited by Roman
farmers, was adapted in every respect for the purpose. This conjecture
is changed into certainty by our observing that several of these farces
are laid in other communities within the domain of the Latin tongue,
which existed no longer at all, or no longer at any rate in the eye
of the law-such as the -Campani- of Pomponius and perhaps also his
-Adelphi- and his -Quinquatria- in Capua, and the -Milites Pometinenses-
of Novius in Suessa Pometia--while no existing community was subjected
to similar maltreatment. The real home of these pieces was
therefore Latium, their poetical stage was the Latinized Oscan
land; with the Oscan nation they have no connection. The statement
that a piece of Naevius (d. after 550) was for want of proper
actors performed by "Atellan players" and was therefore called
-personata- (Festus, s. v.), proves nothing against this view:
the appellation "Atellan players" comes to stand here proleptically,
and we might even conjecture from this passage that they were
formerly termed "masked players" (-personati-).
An explanation quite similar may be given of the "lays of
Fescennium," which likewise belong to the burlesque poetry of
the Romans and were localized in the South Etruscan village of
Fescennium; it is not necessary on that account to class them
with Etruscan poetry any more than the Atellanae with Oscan.
That Fescennium was in historical times not a town but a village,
cannot certainly be directly proved, but is in the highest degree
probable from the way in which authors mention the place and from
the silence of inscriptions.
11. The close and original connection, which Livy in particular
represents as subsisting between the Atellan farce and the -satura-
with the drama thence developed, is not at all tenable. The
difference between the -histrio- and the Atellan player was
just about as great as is at present the difference between a
professional actor and a man who goes to a masked ball; between the
dramatic piece, which down to Terence's time had no masks, and the
Atellan, which was essentially based on the character-mask, there
subsisted an original distinction in no way to be effaced. The
drama arose out of the flute-piece, which at first without any
recitation was confined merely to song and dance, then acquired a
text (-satura-), and lastly obtained through Andronicus a libretto
borrowed from the Greek stage, in which the old flute-lays occupied
nearly the place of the Greek chorus. This course of development
nowhere in its earlier stages comes into contact with the farce,
which was performed by amateurs.
12. In the time of the empire the Atellana was represented by
professional actors (Friedlander in Becker's Handbuch. vi. 549).
The time at which these began to engage in it is not reported, but
it can hardly have been other than the time at which the Atellan
was admitted among the regular stage-plays, i. e. the epoch before
Cicero (Cic. ad Fam. ix. 16). This view is not inconsistent with
the circumstance that still in Livy's time (vii. 2) the Atellan
players retained their honorary rights as contrasted with other
actors; for the statement that professional actors began to take
part in performing the Atellana for pay does not imply that
the Atellana was no longer performed, in the country towns
for instance, by unpaid amateurs, and the privilege therefore
still remained applicable,
13. It deserves attention that the Greek farce was not only
especially at home in Lower Italy, but that several of its
pieces (e. g. among those of Sopater, the "Lentile-Porridge,"
the "Wooers of Bacchis," the "Valet of Mystakos," the "Bookworms,"
the "Physiologist") strikingly remind us of the Atellanae.
This composition of farces must have reached down to the time
at which the Greeks in and around Neapolis formed a circle
enclosed within the Latin-speaking Campania; for one of these
writers of farces, Blaesus of Capreae, bears even a Roman name
and wrote a farce "Saturnus."
14. According to Eusebius, Pomponius flourished about 664;
Velleius calls him a contemporary of Lucius Crassus (614-663) and
Marcus Antonius (611-667). The former statement is probably about
a generation too late; the reckoning by -victoriati- (p. 182) which
was discontinued about 650 still occurs in his -Pictores-, and
about the end of this period we already meet the mimes which
displaced the Atellanae from the stage.
15. It was probably merry enough in this form. In the
-Phoenissae- of Novius, for instance, there was the line:--
-Sume arma, iam te occidam clava scirpea-, Just as Menander's
--Pseudeirakleis-- makes his appearance.
16. Hitherto the person providing the play had been obliged to fit
up the stage and scenic apparatus out of the round sum assigned to
him or at his own expense, and probably much money would not often
be expended on these. But in 580 the censors made the erection of
the stage for the games of the praetors and aediles a matter of
special contract (Liv. xli. 27); the circumstance that the stage-
apparatus was now no longer erected merely for a single performance
must have led to a perceptible improvement of it.
17. The attention given to the acoustic arrangements of the Greeks
may be inferred from Vitruv. v. 5, 8. Ritschl (Parerg. i. 227, xx.)
has discussed the question of the seats; but it is probable
(according to Plautus, Capt. prol. 11) that those only who were
not -capite censi- had a claim to a seat. It is probable, moreover,
that the words of Horace that "captive Greece led captive her
conqueror" primarily refer to these epoch-making theatrical games
of Mummius (Tac. Ann. xiv. 21).
18. The scenery of Pulcher must have been regularly painted, since
the birds are said to have attempted to perch on the tiles (Plin.
H. N. xxxv. 4, 23; Val. Max. ii. 4, 6). Hitherto the machinery for
thunder had consisted in the shaking of nails and stones in a
copper kettle; Pulcher first produced a better thunder by rolling
stones, which was thenceforth named "Claudian thunder" (Festus,
v. Claudiana, p. 57).
19. Among the few minor poems preserved from this epoch there
occurs the following epigram on this illustrious actor:--
-Constiteram, exorientem Auroram forte salutans, Cum subito a laeva
Roscius exoritur. Pace mihi liceat, coelestes, dicere vestra;
Mortalis visust pulchrior esse deo-.
The author of this epigram, Greek in its tone and inspired by Greek
enthusiasm for art, was no less a man than the conqueror of the
Cimbri, Quintus Lutatius Catulus, consul in 652.
20. IV. XII. Course of Literature and Rhetoric
21. -Quam lepide --legeis-- compostae ut tesserulae omnes Arte
pavimento atque emblemate vermiculato-.
22. The poet advises him--
-Quo facetior videare et scire plus quant ceteri---to say not
-pertaesum- but -pertisum-.
23. IV. III. Its Suspension by Scipio Aemilianus
24. The following longer fragment is a characteristic specimen of
the style and metrical treatment, the loose structure of which
cannot possibly be reproduced in German hexameters:--
-Virtus, Albine, est pretium persolvere verum
Queis in versamur, queis vivimu' rebu' potesse;
Virtus est homini scire quo quaeque habeat res;
Virtus scire homini rectum, utile, quid sit honestum,
Quae bona, quae mala item, quid inutile, turpe, inhonestum;
Virtus quaerendae finem rei scire modumque;
Virtus divitiis pretium persolvere posse;
Virtus id dare quod re ipsa debetur honori,
Hostem esse atque inimicum hominum morumque malorum,
Contra defensorem hominum morumque bonorum,
Hos magni facere, his bene velle, his vivere amicum;
Commoda praeterea patriai prima putare,
Deinde parentum, tertia iam postremaque nostra-.
25. IV. XIII. Dramatic Arrangements, second note
26. III. X. Measures of Security in Greece
27. IV. I. Greece
28. Such scientific travels were, however, nothing uncommon among
the Greeks of this period. Thus in Plautus (Men. 248, comp. 235)
one who has navigated the whole Mediterranean asks--
-Quin nos hinc domum Redimus, nisi si historiam scripturi sumus-?
29. III. XIV. National Opposition
30. The only real exception, so far as we know, is the Greek
history of Gnaeus Aufidius, who flourished in Cicero's boyhood
(Tusc, v. 38, 112), that is, about 660. The Greek memoirs of
Publius Rutilius Rufus (consul in 649) are hardly to be regarded
as an exception, since their author wrote them in exile at Smyrna.
31. IV. XI. Hellenism and Its Results
32. IV. XII. Education
33. IV. XII. Latin Instruction
34. The assertion, for instance, that the quaestors were
nominated in the regal period by the burgesses, not by the king,
is as certainly erroneous as it bears on its face the impress of
a partisan character.
35. IV. XII. Course of Literature and Rhetoric
36. IV. XII. Course of Literature and Rhetoric
37. IV. XII. Course of Literature and Rhetoric
38. IV. X. Permanent and Special -Quaestiones-
39. Cato's book probably bore the title -De iuris disciplina-
(Gell. xiii. 20), that of Brutus the title -De iure civili- (Cic.
pro Cluent. 51, 141; De Orat. ii. 55, 223); that they were
essentially collections of opinions, is shown by Cicero (De Orat.
ii. 33, 142).
40. IV. VI. Collision between the Senate and Equites in the
Administration of the Provinces, pp. 84, 205
41. IV. XII. Roman Stoa f.
42. IV. XI. Buildings
End of Book IV
TABLE OF CALENDAR EQUIVALENTS
A.U.C.* B.C. B.C. A.U.C.
---------------------------------------------------------------
000 753 753 000
025 728 750 003
050 703 725 028
075 678 700 053
100 653 675 078
125 628 650 103
150 603 625 128
175 578 600 153
200 553 575 178
225 528 550 203
250 503 525 228
275 478 500 253
300 453 475 278
325 428 450 303
350 303 425 328
375 378 400 353
400 353 375 378
425 328 350 403
450 303 325 428
475 278 300 453
500 253 275 478
525 228 250 503
550 203 225 528
575 178 200 553
600 153 175 578
625 128 150 603
650 103 125 628
675 078 100 653
700 053 075 678
725 028 050 703
750 003 025 728
753 000 000 753
*A. U. C.--Ab Urbe Condita (from the founding of the City of Rome)