And before we leave Nero’s times, I must tell you of the high tribute paid to the art by a foreigner of the royal family of Pontus, who was visiting the Emperor on business, and had been among the spectators of this same pantomime. So convincing were the artist’s gestures, as to render the subject intelligible even to one who (being half a Greek) could not follow the vocal accompaniment. When he was about to return to his country, Nero, in taking leave of him, bade him choose what present he would have, assuring him that his request should not be refused. ‘Give me,’ said the Pontian, ‘your great pantomime; no gift could delight me more.’ ‘And of what use can he be to you in Pontus?’ asked the Emperor. ‘I have foreign neighbours, who do not speak our language; and it is not easy to procure interpreters. Your pantomime could discharge that office perfectly, as often as required, by means of his gesticulations.’ So profoundly had he been impressed with the extraordinary clearness of pantomimic representation.
The pantomime is above all things an actor: that is his first aim, in the pursuit of which (as I have observed) he resembles the orator, and especially the composer of ‘declamations,’ whose success, as the pantomime knows, depends like his own upon verisimilitude, upon the adaptation of language to character: prince or tyrannicide, pauper or farmer, each must be shown with the peculiarities that belong to him. I must give you the comment of another foreigner on this subject. Seeing five masks laid ready — that being the number of parts in the piece — and only one pantomime, he asked who were going to play the other parts. He was informed that the whole piece would be performed by a single actor. ‘Your humble servant, sir,’ cries our foreigner to the artist; ‘I observe that you have but one body: it had escaped me, that you possessed several souls.’
The term ‘pantomime,’ which was introduced by the Italian Greeks, is an apt one, and scarcely exaggerates the artist’s versatility. ‘Oh boy,’ cries the poet, in a beautiful passage,
As that sea-beast, whose hue
With each new rock doth suffer change,
So let thy mind free range
Through ev’ry land, shaping herself anew.
Most necessary advice, this, for the pantomime, whose task it is to identify himself with his subject, and make himself part and parcel of the scene that he enacts. It is his profession to show forth human character and passion in all their variety; to depict love and anger, frenzy and grief, each in its due measure. Wondrous art! — on the same day, he is mad Athamas and shrinking Ino; he is Atreus, and again he is Thyestes, and next Aegisthus or Aerope; all one man’s work.
Other entertainments of eye or ear are but manifestations of a single art: ’tis flute or lyre or song; ’tis moving tragedy or laughable comedy. The pantomime is all-embracing in the variety of his equipment: flute and pipe, beating foot and clashing cymbal, melodious recitative, choral harmony. Other arts call out only one half of a man’s powers — the bodily or the mental: the pantomime combines the two. His performance is as much an intellectual as a physical exercise: there is meaning in his movements; every gesture has its significance; and therein lies his chief excellence. The enlightened Lesbonax of Mytilene called pantomimes ‘manual philosophers,’ and used to frequent the theatre, in the conviction that he came out of it a better man than he went in. And Timocrates, his teacher, after accidentally witnessing a pantomimic performance, exclaimed: ‘How much have I lost by my scrupulous devotion to philosophy!’ I know not what truth there may be in Plato’s analysis of the soul into the three elements of spirit, appetite, and reason: but each of the three is admirably illustrated by the pantomime; he shows us the angry man, he shows us the lover, and he shows us every passion under the control of reason; this last — like touch among the senses — is all- pervading. Again, in his care for beauty and grace of movement, have we not an illustration of the Aristotelian principle, which makes beauty a third part of Good? Nay, I once heard some one hazard a remark, to the effect that the philosophy of Pantomime went still further, and that in the silence of the characters a Pythagorean doctrine was shadowed forth.
All professions hold out some object, either of utility or of pleasure: Pantomime is the only one that secures both these objects; now the utility that is combined with pleasure is doubled in value. Who would choose to look on at a couple of young fellows spilling their blood in a boxing-match, or wrestling in the dust, when he may see the same subject represented by the pantomime, with the additional advantages of safety and elegance, and with far greater pleasure to the spectator? The vigorous movements of the pantomime — turn and twist, bend and spring — afford at once a gratifying spectacle to the beholder and a wholesome training to the performer; I maintain that no gymnastic exercise is its equal for beauty and for the uniform development of the physical powers, — of agility, suppleness, and elasticity, as of solid strength.
Consider then the universality of this art: it sharpens the wits, it exercises the body, it delights the spectator, it instructs him in the history of bygone days, while eye and ear are held beneath the spell of flute and cymbal and of graceful dance. Would you revel in sweet song? Nowhere can you procure that enjoyment in greater variety and perfection. Would you listen to the clear melody of flute and pipe? Again the pantomime supplies you. I say nothing of the excellent moral influence of public opinion, as exercised in the theatre, where you will find the evil-doer greeted with execration, and his victim with sympathetic tears. The pantomime’s most admirable quality I have yet to mention, — his combination of strength and suppleness of limb; it is as if brawny Heracles and soft Aphrodite were presented to us in one and the same person.
I now propose to sketch out the mental and physical qualifications necessary for a first-rate pantomime. Most of the former, indeed, I have already mentioned: he must have memory, sensibility, shrewdness, rapidity of conception, tact, and judgement; further, he must be a critic of poetry and song, capable of discerning good music and rejecting bad. For his body, I think I may take the Canon of Polyclitus as my model. He must be perfectly proportioned: neither immoderately tall nor dwarfishly short; not too fleshy (a most unpromising quality in one of his profession) nor cadaverously thin. Let me quote you certain comments of the people of Antioch, who have a happy knack in expressing their views on such subjects. They are a most intelligent people, and devoted to Pantomime; each individual is all eyes and ears for the performance; not a word, not a gesture escapes them. Well, when a small man came on in the character of Hector, they cried out with one voice: ‘Here is Astyanax; and where is Hector?’ On another occasion, an exceedingly tall man was taking the part of Capaneus scaling the walls of Thebes; ‘Step over’ suggested the audience; ‘you need no ladder.’ The well-meant activity of a fat and heavy dancer was met with earnest entreaties to ‘spare the platform’; while a thin performer was recommended to ‘take care of his health.’ I mention these criticisms, not on account of their humorous character, but as an illustration of the profound interest that whole cities have sometimes taken in Pantomime, and of their ability to discern its merits and demerits.
Another essential for the pantomime is ease of movement. His frame must be at once supple and well-knit, to meet the opposite requirements of agility and firmness. That he is no stranger to the science of the boxing — and the wrestling-ring, that he has his share of the athletic accomplishments of Hermes and Pollux and Heracles, you may convince yourself by observing his renderings of those subjects. The eyes, according to Herodotus, are more credible witnesses than the ears; though the pantomime, by the way, appeals to both kinds of evidence.
Such is the potency of his art, that the amorous spectator is cured of his infirmity by perceiving the evil effects of passion, and he who enters the theatre under a load of sorrow departs from it with a serene countenance, as though he had drunk of that draught of forgetfulness
That lulls all pain and wrath.
How natural is his treatment of his subjects, how intelligible to every one of his audience, may be judged from the emotion of the h
ouse whenever anything is represented that calls for sorrow or compassion. The Bacchic form of Pantomime, which is particularly popular in Ionia and Pontus, in spite of its being confined to satyric subjects has taken such possession of those peoples, that, when the Pantomime season comes round in each city, they leave all else and sit for whole days watching Titans and Corybantes, Satyrs and neat-herds. Men of the highest rank and position are not ashamed to take part in these performances: indeed, they pride themselves more on their pantomimic skill than on birth and ancestry and public services.
Now that we know what are the qualities that a good pantomime ought to possess, let us next consider the faults to which he is liable. Deficiencies of person I have already handled; and the following I think is a fair statement of their mental imperfections. Pantomimes cannot all be artists; there are plenty of ignorant performers, who bungle their work terribly. Some cannot adapt themselves to their music; they are literally ‘out of tune’; rhythm says one thing, their feet another. Others are free from this fault, but jumble up their chronology. I remember the case of a man who was giving the birth of Zeus, and Cronus eating his own children: seduced by the similarity of subject, he ran off into the tale of Atreus and Thyestes. In another case, Semele was just being struck by the lightning, when she was transformed into Creusa, who was not even born at that time. Still, it seems to me that we have no right to visit the sins of the artist upon the art: let us recognize him for the blunderer that he is, and do justice to the accuracy and skill of competent performers.
The fact is, the pantomime must be completely armed at every point. His work must be one harmonious whole, perfect in balance and proportion, self-consistent, proof against the most minute criticism; there must be no flaws, everything must be of the best; brilliant conception, profound learning, above all human sympathy. When every one of the spectators identifies himself with the scene enacted, when each sees in the pantomime as in a mirror the reflection of his own conduct and feelings, then, and not till then, is his success complete. But let him reach that point, and the enthusiasm of the spectators becomes uncontrollable, every man pouring out his whole soul in admiration of the portraiture that reveals him to himself. Such a spectacle is no less than a fulfilment of the oracular injunction KNOW THYSELF; men depart from it with increased knowledge; they have learnt something that is to be sought after, something that should be eschewed.
But in Pantomime, as in rhetoric, there can be (to use a popular phrase) too much of a good thing; a man may exceed the proper bounds of imitation; what should be great may become monstrous, softness may be exaggerated into effeminacy, and the courage of a man into the ferocity of a beast. I remember seeing this exemplified in the case of an actor of repute. In most respects a capable, nay, an admirable performer, some strange fatality ran him a-ground upon this reef of over-enthusiasm. He was acting the madness of Ajax, just after he has been worsted by Odysseus; and so lost control of himself, that one might have been excused for thinking his madness was something more than feigned. He tore the clothes from the back of one of the iron-shod time-beaters, snatched a flute from the player’s hands, and brought it down in such trenchant sort upon the head of Odysseus, who was standing by enjoying his triumph, that, had not his cap held good, and borne the weight of the blow, poor Odysseus must have fallen a victim to histrionic frenzy. The whole house ran mad for company, leaping, yelling, tearing their clothes. For the illiterate riffraff, who knew not good from bad, and had no idea of decency, regarded it as a supreme piece of acting; and the more intelligent part of the audience, realizing how things stood, concealed their disgust, and instead of reproaching the actor’s folly by silence, smothered it under their plaudits; they saw only too clearly that it was not Ajax but the pantomime who was mad. Nor was our spirited friend content till he had distinguished himself yet further: descending from the stage, he seated himself in the senatorial benches between two consulars, who trembled lest he should take one of them for a ram and apply the lash. The spectators were divided between wonder and amusement; and some there were who suspected that his ultra-realism had culminated in reality. However, it seems that when he came to his senses again he bitterly repented of this exploit, and was quite ill from grief, regarding his conduct as that of a veritable madman, as is clear from his own words. For when his partisans begged him to repeat the performance, he recommended another actor for the part of Ajax, saying that ‘it was enough for him to have been mad once.’ His mortification was increased by the success of his rival, who, though a similar part had been written for him, played it with admirable judgement and discretion, and was complimented on his observance of decorum, and of the proper bounds of his art.
I hope, my dear Crato, that this cursory description of the Pantomime may mitigate your wrath against its devoted admirer. If you can bring yourself to bear me company to the theatre, you will be captivated; you will run Pantomime-mad. I shall have no occasion to exclaim, with Circe,
Strange, that my drugs have wrought no change in thee!
The change will come; but will not involve an ass’s head, nor a pig’s heart, but only an improved understanding. In your delight at the potion, you will drain it off, and leave not a drop for any one else. Homer says, of the golden wand of Hermes, that with it he
charms the eyes of men,
When so he will, and rouses them that sleep.
So it is with Pantomime. It charms the eyes-to wakefulness; and quickens the mental faculties at every turn.
Cr. Enough, Lycinus: behold your convert! My eyes and ears are opened. When next you go to the theatre, remember to take a seat for me next your own. I too would issue from those doors a wiser man.
LEXIPHANES — Λεξιφάνης
Translated by H. W. Fowler and F. G. Fowler
LEXIPHANES
Lycinus. Lexiphanes. Sopolis
Ly. What, our exquisite with his essay?
Lex. Ah, Lycinus, ’tis but a fledgeling of mine; ’tis all incondite.
Ly. O ho, conduits — that is your subject, is it?
Lex. You mistake me; I said nothing of conduits; you are behind the times; incondite— ’tis the word we use now when a thing lacks the finishing touches. But you are the deaf adder that stoppeth her ears.
Ly. I beg your pardon, my dear fellow; but conduit, incondite, you know. Well now, what is the idea of your piece?
Lex. A symposium, a modest challenge to the son of Ariston.
Ly. There are a good many sons of Aristons; but, from the symposium, I presume you mean Plato.
Lex. You take me; what I said could fit no other.
Ly. Well, come, read me a little of it; do not send me away thirsty; I see there is nectar in store.
Lex. Ironist, avaunt! And now open your ears to my charming; adder me no adders.
Ly. Go ahead; I am no Adam, nor Eve either.
Lex. Have an eye to my conduct of the discourse, whether it be fair in commencement, fair in speech, fair in diction, fair in nomenclature.
Ly. Oh, we know what to expect from Lexiphanes. But come, begin.
Lex. ’Then to dinner,’ quoth Callicles, ‘then to our post-prandial deambulation in the Lyceum; but now ’tis time for our parasolar unction, ere we bask and bathe and take our nuncheon; go we our way. Now, boy, strigil and mat, towels and soap; transport me them bathwards, and see to the bath-penny; you will find it a-ground by the chest. And thou, Lexiphanes, comest thou, or tarriest here?’ ‘Its a thousand years,’ quoth I, ‘till I bathe; for I am in no comfort, with sore posteriors from my mule-saddle. Trod the mule-man as on eggs, yet kept his beast a-moving. And when I got to the farm, still no peace for the wicked. I found the hinds shrilling the harvest-song, and there were persons burying my father, I think it was. I just gave them a hand with the grave and things, and then I left them; it was so cold, and I had prickly heat; one does, you know, in a hard frost. So I went round the plough-lands; and there I found garlic growing, delved radishes, culled chervil and all herbs, bought parched barley,
and (for not yet had the meadows reached the redolency that tempts the ten toes)-so to mule-back again; whence this tenderness behind. And now I walk with pain, and the sweat runs down; my bones languish, and yearn for the longest of water-swims; ’tis ever my joy to wash me after toil.
I will speed back to my boy; ’tis like he waits for me at the pease- puddingry, or the curiosity shop; yet stay; his instructions were to meet me at the frippery. Ah, hither comes he in the nick of time: ay, and has purchased a beesting-pudding and girdle-cakes and leeks, sausages and steak, dewlap and tripe and collops. — Good, Atticion, you have made most of my journey no thoroughfare.’ ‘Why, sir, I have been looking round the corner for you till I squint. Where dined you yesterday? with Onomacritus?’ ‘God bless me, no. I was off to the country; hey presto! and there we were. You know how I dote on the country. I suppose you all thought I was making the glasses ring. Now go in, and spice all these things, and scour the kneading-trough, ready to shred the lettuces. I shall be of for a dry rub.’
Delphi Complete Works of Lucian Page 68