interest
in the drama as such, to find that the most remarkable event in the
theatrical history of this time is the building of the first permanent
stone theatre. During the whole long period of the popularity of
the drama the government had never consented to the erection of a
permanent theatre after the Greek fashion; though it was impossible to
prohibit the production of plays adapted from the Greek, there seems
to have been some strange scruple felt about giving Rome this outward
token of a Greek city. Temporary stages were erected in the Forum
or the circus, the audience at first standing, but afterwards
accommodated with seats in a _cavea_ of wood erected for the occasion.
The whole show, including play, actors, and pipe-players[505] to
accompany the voices where necessary, was contracted for, like all
such undertakings,[506] on each occasion of Ludi scaenici being
produced. At last, in the year 154 B.C., the censors had actually
set about the building of a theatre, apparently of stone, when the
reactionary Scipio Nasica, acting under the influence of a temporary
anti-Greek movement, persuaded the senate to put a stop to this
symptom of degeneracy, and to pass a decree that no seats were in
future to be provided, "ut scilicet remissioni animorum standi
virilitas propria Romanae gentis iuncta esset."[507] Whether this
extraordinary decree, of which the legality might have been questioned
a generation later, had any permanent effect, we do not know;
certainly the senators, and after the time of Gaius Gracchus the
equites, sat on seats appropriated to them. But Rome continued to
be without a stone theatre until Pompey, in the year of his second
consulship, 55 B.C., built one on a grand scale, capable of holding
40,000 people. Even he, we are told, could not accomplish this without
some criticism from the old and old-fashioned,--so lasting was the
prejudice against anything that might seem to be turning Rome into a
Greek city.[508] There was a story too, of which it is difficult to
make out the real origin, that he was compelled by popular feeling
to conceal his design by building, immediately behind the theatre, a
temple of Venus Victrix, the steps of which were in some way connected
with his auditorium.[509] The theatre was placed in the Campus
Martius, and its shape is fairly well known to us from fragments of
the Capitoline plan of the city;[510] adjoining it Pompey also built
a magnificent _porticus_ for the con