who asserts
that when he was young he spent much of his time among _mimi_ and
jesters, and that when he was dictator he "daily got together from the
theatre the lewdest persons, with whom he would drink and enter into a
contest of coarse witticisms."[523] This may be due to the evidence of
an enemy, but it is not improbable; and it is possible that both Sulla
and Caesar, who also patronised the mimes, may have wished to avoid
the personal allusions which, as we have seen, were so often made or
imagined in the exhibition of tragedies, and have aimed at confining
the plays to such as would give less opportunity for unwelcome
criticism.[524]

About the year 50 B.C., as we have seen in the chapter on education,
there came to Italy the Syrian Publilius, who began to write mimes in
verse, thus for the first time giving them a literary turn. Caesar,
always on the look-out for talent, summoned him to Rome, and awarded
him the palm for his plays.[525] These must have been, as regards wit
and style, of a much higher order than any previous mimes, and in fact
not far removed from the older Roman comedy (fabula togata) in manner.
Cicero alludes to them twice: and writing to Cornificius from Rome in
October 45 he says that at Caesar's ludi he listened to the poems of
Publilius and Laberius with a well-pleased mind.[526] "Nihil mihi
tamen deesse scito quam quicum haec familiariter docteque rideam";
here the word _docte_ seems to suggest that the performance was at
least worthy of the attention of a cultivated man. Laberius, also
a Roman knight, wrote mimes at the same time as Publilius, and was
beaten by him in competition; of him it is told that he was induced by
Caesar to act in his own mime, and revenged himself for the insult, as
it was then felt to be by a Roman of good birth, in a prologue which
has come down to us.[527] We may suppose that his plays were of the
same type as those of Publilius, and interspersed with those wise
sayings, _sententiae_, which the Roman people were still capable of
appreciating. Even in the time of Seneca applause was given to any
words which the audience felt at once to be true and to hit the
mark.[528]

Thus the mime was lifted from the level of the lowest farcical
improvisation to a recognised position in literature, and quite
incidentally became useful in education. But the coarseness remained;
the dancing was grotesque and the fun ribald, and, as Professor Purser
says, the plots nearly alwa