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.

1. DIOMED. GL. 1, 491 mimus est sermonis cuiuslibet motus (sermonem movere, like iocum movere in SALL. Cat. 95) sine reverentia, vel factorum et (etiam) turpium cum lascivia imitatio : a Graecis ita definitus : μιμός ἐστι μίμησις βίου τά τε συγκεχωρημένα Kal ȧovyxwρηTа reρiέxwv. In the same manner EUANTHIUS p. 7 Reiffersch. states that the mimi were named so ab diuturna imitatione vilium rerum et levium personarum, and ISID. orig. 18, 49 mimi sunt dicti graeca appellatione quod rerum humanarum” (rather humilium, see DONAT. note 3 below, and TEUFFEL JJ. 113, 880) sint imitationes. CIGRYSAR, der römische Mimus, Wien 1854 (=SBer. der Wiener Akad. 12, 237). LFRIEDLÄNDER in JMarquardt's röm. Staatsverwaltung 32, 549 and in his Sittengesch. 25, 392.

2. As long as the mimus 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 been collected by MHERTZ, JJ. 93, 581. The oldest trace occurs in FESTUS 326, where the writer, after mentioning the erection of a stage and the introduction of performances (ludi scenici, saltationes) on it, thus proceeds: solebant (his prodire mimi) in orchestra, dum <in scena actus fabulae componeren<tur, cum gestibus ob>scaenis. Then follows a mention of ludi (Apollinares) C. Sulpicio C. Fulvio cos. (rather P. Sulp. Cn. Fulvio =543/211), 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). In the 7th century u.c. are mentioned excesses of the mimi by nominatim compellare in scena (CORNIF. ad Her. 1, 14, 24. 2. 13, 19), and in the year 639/115 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. 2, 259 (the time a. 663/91), and the suavis mimus Protogenes' Plourima que(i) fecit populo soueis gaudia nuge(i)s' (CIL., 1, 1297. 9, 4463.) -Mimes were performed especially at the Floralia (first celebrated 516/238, regularly from 581/173) on a stage erected expressly for this purpose in front of the temple of Flora (AUG. civ. d. 2, 26. MERKEL on Ov. Fasti. p. CLXIII); the final effect: exuuntur vestibus populo flagitante meretrices quae tunc mimarum funguntur officio (LACT. inst. 1, 20, 6). VAL. MAX. 2, 10, 8 notices the nudatio mimarum on the stage as a priscus mos iocorum.

3. DIOMED. GL. 1, 490 quarta species (fabularum latinarum) est planipedis, qui graece dicitur píuos. 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 277 mimi planipedes. AusON. epist. 11 de mimo planipedem. Iuv. 8, 191 planipedes audit (populus) Fabios (cf. SUET. Ner. 4. TAC. hist. 3, 62). DONAT. de com. p. 9 Reiffersch.: planipedia dicta ob humilitatem argumenti eius ac vilitatem actorum, qui non cothurno aut socco nituntur in scaena aut pulpito sed plano pede. GELL. 1, 11, 12 si ut planipedi saltanti . . . numeros et modos . . tibicen incineret. MACR. Sat. 2, 1, 9 planipedis et fabulonis (sannionis?) impudica .. verba iacientis. Cf. also SEN. ep. 8, 8 excalceati in contrast to cothurnati (see also the passage of Seneca just below). According to this the popular planipes designates the actor of the mimus in opposition to those of the higher drama. mimus signifies, like uîuos, the actor as well as the farce itself.-The mimus as an after-play was given on the front part of the stage divided from the back by a

drop-scene (siparium.) DONAT. de com. p. 12 Reiffersch. mimicum velum quod populo obsistit, dum fabularum actus commutantur (see above, n. 2, 1. 7). SEN. tranq. 11, 8 Publilius (§ 212, 3) inter multa alia cothurno, non tantum sipario, fortiora et hoc ait. Iuv. 8, 105 vocem Catulli.

locasti sipario, clamosum ageres ut Phasma

4. Cic. fam. 9, 16, 7 secundum Oenomaum Accii non, ut olim solebat, Atellanam, sed, ut nunc fit, mimum introduxisti. Cf. § 6, 4. § 10, 1. The dying Augustus, however, in his question (SUET. Aug. 99) ecquid amicis videretur mimum vitae commode transegisse did not use the word mimus of the after-play' of life, as OHIRSCHFELD, Wiener Stud. 5, 116 assumes; he compared life, in Stoical fashion, to a stage-play; cf. SEN. epist. 80, 7 hic humanae vitae mimus, qui nobis partes quas male agamus adsignat; UvWILAMOWITZ, Herm. 21, 626.-The phrase scenicum exodium in SUET. Dom. 10 (cf. § 324, 5) also no doubt means a mimus.

8. At the end of the Republic the mimus, or farce, was introduced into literature by D. Laberius, Publilius Syrus and perhaps L. Valerius. At the same time its form was assimilated to that of the other species of drama, and the scope of its materials was enlarged, so that it gradually absorbed all the earlier kinds of comedy, the Attic-Roman palliata, the togata with its domestic and Roman subject-matter, the Atellanae with their roughness and indelicacy. Under the Empire, when the higher branches of the drama barely maintained their position with the old stock pieces, the mimus independently performed and the pantomimus acted in dumb-show were in the ascendant; new mimi continued to be composed in response to the daily demand till the latest period of the Empire, although the higher literature, as in the case of our modern farces etc., took no particular notice of them. As writers of mimi are mentioned a certain Catullus and Lentulus, also Atticus, Helvidius, Vergilius Romanus, Hostilius, Marullus, Aemilius Severianus and Aesopus.

1. On the mimiambi of Cn. Matius § 150, 2; on the σaruρikai kwμwdíaι supposed to have been written by Sulla rỷ warpių pwv see § 157, 3. On Philistion § 254, 6, and L. Crassicius § 263, 2. On Lucilius § 307, 2.—The fragments of the mimi belonging to the Empire in RIBBECK com. p. 392.

2. Cic. de or. 2, 242 mimorum est ethologorum, si nimia est imitatio (caricatures), sicut obscenitas. Cf. ib. 239. orat. 88 ridiculo sic usurum oratorem ut. nec subobsceno (utatur), ne mimicum (sit). OVID. trist. 2, 497 (obscena iocantes) and 515 (imitantes turpia). QUINTIL. 6, 1, 47. Cf. n. 5.-The principal purpose was to provoke laughter: HOR. S. 1, 10, 6; APULEI. flor. 1, 5 si mimus est riseris, .. si comoedia est faveris. CASSIOD. Var. IV. fin.: mimus, qui nunc tantummodo derisui habetur. This was also done by means of making faces (QUINTIL. 6, 3, 29), imitating the noises of animals, etc. Performance by a trained dog, PLUT. de sollert. animal. 10 (mor. p. 973 ad fin.).

3. Plan and general scheme. Cic. Phil. 2, 65 persona de mimo, modo egens, repente dives. Cael. 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. QUINT. 4, 2, 53 est quidam et ductus rei credibilis, qualis in comoediis etiam et in mimis. PLUT. de sollert. anim. 19 (of the time of Vespasian) μίμῳ πλοκὴν ἔχοντι δραματικὴν καὶ πολυπρόσωπον.—Specimens of dialogue in Cic. de or. 2, 274, e.g.: quid est tibi Ista mulier? Uxor. Similis, me dius fidius.— Laberius' prologue in MACR. Sat. 2, 7, 2. Cf. ISID. orig. 18, 49 habebant (mimi) suum actorem qui antequam mimum ageret fabulam pronuntiaret. On the cantica, see below n. 11.

4. Being a scurrilous representation of low life, the mimus is to a certain extent like the togata and both have many titles in common, e.g. Aquae caldae, Augur, Compitalia, Fullo, Virgo, the latter two occurring also among the artistic Atellanae, with which the mimus shares also the titles Gemini, Hetaera, Nuptiae, Piscator. The principal difference may be found in the prevalence of the mimic element in the mimus (n. 2), and the existence of the oscae personae in the Atellanae. With the palliata the mimus shares the titles Colax, Hetaera, and Phasma, and besides we find the following originally Greek titles of mimi: Alexandrea, Belonistria, Cacomnemon, Cophinus, Ephebus, Necyomantia, and Scylax.

5. The plots were in general of an obscene character (n. 2), esp. seductions, scenes of adultery, cheating of husbands or fathers or persons easily imposed upon. Cf. Cic. Rab. Post. 35 illinc omnes praestigiae, . . . omnes fallaciae, omnia denique ab iis mimorum argumenta nata sunt. OVID. trist. 2. 497. Iuv. 6, 44. 8, 197. CAPITOL. M. Anton. 29, 2. LAMPRID. Heliog. 25, 4 (mimica adulteria). DONAT. on Aen. 5. 64 mimi solis inhonestis et adulteris placent. LACTANT. inst. 6. 20 (mimi) docent adulteria dum fingunt. MINUC. FEL. Oct. 87, 12 in scenicis (ludis) . . turpitudo prolixior, nunc enim mimus vel exponit adulteria vel monstrat, nunc enervis histrio amorem dum fingit infigit. With the same tendency mythological subjects were selected and treated, and this most frequently under the Emperors (by Laberius: Lacus Avernus, Necyomantia). ARNOB. adv. gent. 4, 35 etiam mimis et scurrilibus ludicris sanctissimorum personae interponuntur deorum, et ut spectatoribus vacuis risus possit atque hilaritas excitari, iocularibus feriuntur cavillationibus numina. Cf. 7, 33. TERTULL. apolog. 15 (here are mentioned as mimi Anubis moechus, Luna mascula, Diana flagellata, Iovis mortui testamentum recitatum, tres Hercules famelici; cf. § 363, 7). Similar subjects are Kinyras and Myrrha (IOSEPH. ant. 19, 1, 13), Paris and Oenone (SUET. Dom. 10), Priapus (AUGUSTIN. civ. dei 6, 7). In this way, the mimi were both a symptom and an important vehicle of the most horrible immorality.

6. This scurrility and corruption are seemingly contrasted (SEN. ep. 8, 8) by the wise and moral sayings with which especially Syrus' mimi abounded, perhaps owing to the influence of Greek comedy (comp. PLAUT. Rud. 4, 7, 23). But this combination of scurrility and wisdom is quite in keeping with the popular character (see WHERTZBERG on Juvenal 15, 16), and in the Imperial period the second feature may have been less conspicuous. On the other hand, personal allusions, which had been made in the mimi even before (CORNIFICIUS above § 7, 2. Laberius v. 7), were then sometimes indulged in by the mimi against the very highest persons. CAPIT. M. Ant. 8, 1 (cf. § 363, 7), ib. 29, 1. Maximin. 9, 3 sqq. LAMPRID. Comm. 3, 4. Cf. VOPISC. Aurel. 42, 5. MINUC. FEL. Oct. 34, 7 non philosophi studio, sed mimi convicio (cf. Cic. Mur. 13) digna ista sententia est.

7. The mimi were performed by one principal actor (cf. MACR. Sat. 2, 7, 7 below § 212,3), who was at the same time the director of the troupe of mimi (archimimus). Such are often mentioned: e.g. ȧpxiμîμos Zŵpig, the friend of Sulla (PLUT. Sull. 36).

Others: SUET. Vesp. 19. Iuv. 8, 187. MAR. Max. in SCHOL. Iuv. 4, 53. PORPH. on Hor. S. 2, 6, 72. AUGUSTIN. civ. d. 6, 10. VICT. VIT. de persec. Vand. 1, 47. CIL. 3, 6113 (cf. Herm. 17, 495). 6, 1063. 1064. 4649. OR. 2625-WILM. 2624; cf. below n. 9 and above § 7, 2. On the archimimae n. 8. Besides this first actor were also actores secundarum (SUET. Cal. 37), inferior to the first (Hor. E. 1, 18, 13. S. 1, 9, 46), who imitated him throughout (SUET, 1.1.) and received blows from him (Iuv. 5, 171. 8, 192. MARTIAL. 2, 79, 3. 5, 61, 11. ARNOB. adv. g. 7, 33). Sorix, named above as archimimus, appears also in secondary parts CIL. 10, 814 (C. Norbani Soricis secundarum etc.). Among these we find in a prominent place the customary part of the stupidus (OR. 2645. WILM. 2635 Aurelius Eutyches, stupidus gregis urbani, cf. OR. 2608 and below n. 9. Iuv. 8, 197. CAPITOL. M. Ant. 29, 2), who appeared capite raso (HEINRICH on luv. 5, 171. NON. MARC. 6 calvitur=frustratur, tractum a calvis mimis, quod sint omnibus frustratui. ARNOB. 1.1. delectantur dii stupidorum capitibus rasis, salpittarum sonitu ac plausu, factis et dictis turpibus, fascinorum ingentium rubore, cf. SCHOL. Iuv. 6, 66 penem ut habent in mimo. FESTUs 326 s. v. salva res (erroneously bringing in the palliata): secundarum partium fuit, qui fere omnibus mimis parasitus inducitur.-CIL. 6, 10104 P. Cornelius P. l. Esq. Nig. tertiarum. Qu. in place here?

8. Peculiar to the mimus, and a principal source of dissoluteness, was the representation of female parts by women. Cf. § 7, 2. AMMIAN. 23, 5, 3 cum

Antiochiae scenicis ludis mimus cum uxore immissus e medio sumpta quaedam imitaretur. Many mimae attained a kind of celebrity, e.g. Arbuscula, Dionysia, Cytheris, Origo, Quintilia, Thymele (in Juv. and Martial), Basilla (CIG. 3, p. 1023); Claudia Hermione, archimima, CIL. 6, 10106 OR. 4760; Fabia M. et C. lib. Arete archimima CIL. 6, 10107. Sociarum mimarum CIL. 6, 10109.

9. In the Imperial period we find no longer the number of performers restricted to certain limits, but an attempt is made to cast the parts systematically. Cf. PETRON. 80 grex agit in scena mimum, pater ille vocatur, filius hic, nomen divitis (cf. SEN. ep. 114, 6 in mimo divites fugitivi) ille tenet. PLUT. de sol. an. 19 μíμw #λOKỲY ἔχοντι TоλUжрóσwтоν. Thus the Laureolus (§ 285, 1) must have required a large company. Seven scenici, amongst them besides archimimi and stupidi (i.e. stupidi Graeci and ordinary stupidi) a pec(uniosus) and a mul(ier), are mentioned in two inscriptions of the beginning of the 3rd cent. CIL. 6, 1063–1064 = WILM. 1501 a and b, cf. MoмMSEN, Herm. 5, 303.

10. The costume of the mimi was a many-coloured harlequin's jacket, centunculus (APULEI. apol. 13); without calcei (excalceati, SEN. ep. 8, 8), whence the name planipedes, § 7, 3. In keeping with their character the mimae were gaily dressed leaving the person almost nude; peculiar to them seems to have been the recinium or ricinium. FESTUS 274 recinium esse dixerunt virilis) toga e simile vestimentum quo) mulieres utebantur, praetextum clavo purpureo, unde reciniati mimi planipedes. Cf. VARRO LL. 5, 132. NON. 542 ricinium . palliolum femineum breve. SERV. Aen. 1, 282 togas etiam feminas habuisse cycladum et recini usus ostendit. recinus autem dicitur ab eo quod post tergum reicitur. Masks were necessarily excluded by the conditions of mimicry. Elaborate painting of the face; cf. HIERONYM. ep. 60, 29 eas quae rubore frontis addito parasitos (cf. n. 7 ad fin.) vincunt mimorum. With respect to the estimation in which the mimi were held, see e. g. VOPISC. Carin. 16, 7 mimis, meretricibus, pantomimis, cantoribus, lenonibus. TREBELL. Gallien. 21, 6. trig. tyr. 9, 1.

11. The diction of the popular mimi was plebeian, that of the written ones less so, partly because of their metrical form; regarding Laberius see GELL. 16, 7. For

the metres we find in the fragments iambic senarii and trochaic tetrameters. Cf. § 192, 7. Before and after Laberius and Syrus, metrical form was probably restricted to cantica. That such were in existence is clear from PETRON. 35 (de Laserpiciario mimo canticum; cf. μμdoi PLUT. Sull. 2.) The obscena cantica with which omne convivium strepit (QUINT. 1, 2, 8) were probably taken chiefly from mimi. Versus cantare in CAPITOL. Maximin. 9, 5. Also salva res est dum cantat senex, FEST. 326. The accompaniment of the tibia appears to have belonged principally to the saltatio; FESTUS 326, 13 ad tibicinem saltare; GELL. 1, 11, 12 si ut planipedi saltanti numeros et modos... tibicen incineret. See the graceful epitaph of the mimus Vitalis AL. 683 PLM. 3, 245.

12. Interesting evidence of the survival of the mimus, and its diffusion in the Eastern Roman Empire, is the Apology for the mimi written, under Justinian, by the rhetor Chorikios, published by CHGRAUX, Rev. de philol. 1, 209. Cf. also Jon.Lrpus magistr. 1, 40 ή μιμική, ἡ νῦν δῆθεν μόνη σωζομένη, τεχνικὸν μὲν ἔχουσα οὐδὲν λόγῳ, μόνον τὸ πλῆθος ἐπάγουσα γελώτι. On the mediaeval mimi cf. GRYsAR 1.1. 331 and KRAHNER, ZAW. 1852, 388: the last pagan priests were at the same time the last mimi and joculatores (see the description of a person of this kind by Maximns Taurinensis, MURATORI Anecd. 4, 99), and the earliest notices with regard to the drama at the beginning of the Middle Ages represent it as ecclesiastical, and as retaining the same joculatores in its service.

13. The pantomimus, being a kind of ballet, hardly belongs to literature. It was evolved from the drama (which had already in the canticum (§ 16, 3) introduced the separation between actor and singer) in consequence of the everincreasing taste for dancing and dumb-show, and quite superseded dialogue. Under Augustus (732/22 see HIERON. ad chron. Eus. for that year) this species of play was given an independent form by the Cilician Pylades and the Alexandrine Bathyllos: the former founded tragic pantomime, which remained by far the more popular, the latter comic pantomime. A pantomimus (lusor mutus CIL. 6, 4886 OR. 6118), appearing in different parts (male or female) and costumes, according as the story required, represented in a succession of solos the chief incidents of a plot (canticum saltare; in mimis saltantibus=in pantomimes CIL. 6, 10118; see however n. 11, l. 11), while a choir sang the words during and between the dances of the pantomimus. This connecting text was of course very subordinate: it is only rarely that we hear of poets of note undertaking to supply such librettos. Lucan, however, wrote fabulae salticae (§ 303, 4), and likewise Statius (§ 321, 1) and Arbronius Silo (§ 252, 14). Cf. LFRIEDLÄNDER, Sittengesch. 25, 406, and in Marquardt's röm. Staatsverwalt. 3, 551. The pantomimus was acted by a single soloist: pantomimae are quite detached: Sen. ad Helv. 12, 6. AL. 310=PLM. 4, 464 and on a tessera CIL. 6, 10128 Sophe Theorobathylliana arbitrix imboliarum is named as a pupil of Bathyllos and of Theoros, who was also very celebrated as a pantomimus (CIL. 6, 10115). Concerning the embolia (interludes) cf. embolium (Cic. Sest. 116), emboliarius (CIL. 4, 1949), emboliaria (PLIN. NH. 7, 158. CIL. 6, 10127=OR. 2613).

9. The Atellanae (fabulae A.) are so called from Atella, a small town in Campania, in a country originally Oscan. Atellan plays originally denoted comic descriptions of the life in small towns, in which the principal persons gradually assumed a fixed character. After the Romans (543/211) had annihilated the independence of Campania, and latinized the district, both the