f the _mimus_ were the first to appear
unmasked;[2029] later others imitated them. At the present day the
theatrical exhibitions which may be seen on the outskirts of a fair in
central Europe well represent the ancient _mimus_. The marionettes were
an early offshoot of the _mimus_, and the modern Punch-and-Judy show is
a descendant in part of both. For the mores the _mimus_ and the
marionette theater are a thousandfold more important than the great
tragedies, but the former have left no mark on history. They never were
written down; the actors are dead; their reputation is forgotten. The
mores contain the effect as a fact but no explanation of it. From the
time of Alexander the Great that which is common, popular, realistic
prevailed in politics and literature. The heroic and ideal-poetic
declined and was made an object of satire in the _mimus_. "The trivial,
prosaic, and libertine taste of the Macedonian princes of Egypt and
Syria at last reigned alone in enslaved Greece." Then, under different
forms and names, nothing remained but mimes, realistic representation of
common life.[2030] The Olympian gods and Homeric heroes were burlesqued
for fun. The _mimus_ won acceptance at courts and in higher circles. It
was developed into the so-called "hypothesis" and won a place on the
stage. The most distinguished maker of hypotheses was Philistion,[2031]
who lived at the beginning of the Christian era. They became popular
throughout the Greco-Roman world in the first centuries of the Christian
era.[2032] The emperor Tiberius caused actors to be expelled from Italy
as disturbers of the peace, and because the old Oscan farce, once
amusement for the common people, had become indecent.[2033] Out of the
common origin of all dramatic exhibitions (sec. 616) the _mimus_ kept
the corn demons, or growth demons, which always commanded the interest
of husbandmen. The actors of this role wore masks in which the features
of a low and sensual countenance were greatly exaggerated. An artificial
phallus (sec. 473) was worn outside of the dress, and the entire region
of the hips was enlarged so as to produce a conventional, extravagant,
and stereotyped figure, like the modern clown, punch, or Mephisto,
being, in fact, in some measure, their ancestor.[2034] Greek vases
represent these figures. The same set of ideas and course of thought has
been traced in Mexico in connection with crop interests and growth
demons.[2035] There also the public rites