co-operated to procure
for him a resurrection similar to that which Shakespeare experienced
at the hands of Garrick and Johnson; but even Plautus had to suffer
from the degenerate susceptibility and the impatient haste
of an audience spoilt by the short and slovenly farces, so that
the managers found themselves compelled to excuse the length
of the Plautine comedies and even perhaps to make omissions
and alterations. The more limited the stock of plays, the more
the activity of the managing and executive staff as well as
the interest of the public was directed to the scenic representation
of the pieces. There was hardly any more lucrative trade in Rome
than that of the actor and the dancing-girl of the first rank.
The princely estate of the tragic actor Aesopus has been
already mentioned;(13) his still more celebrated contemporary
Roscius(14) estimated his annual income at 600,000 sesterces
(6000 pounds)(15) and Dionysia the dancer estimated hers
at 200,000 sesterces (2000 pounds). At the same time
immense sums were expended on decorations and costume;
now and then trains of six hundred mules in harness crossed
the stage, and the Trojan theatrical army was employed
to present to the public a tableau of the nations vanquished
by Pompeius in Asia. The music which accompanied the delivery
of the inserted choruses likewise obtained a greater
and more independent importance; as the wind sways the waves,
says Varro, so the skilful flute-player sways the minds of the listeners
with every modulation of melody. It accustomed itself to the use
of quicker time, and thereby compelled the player to more lively action.
Musical and dramatic connoisseurship was developed; the -habitue-
recognized every tune by the first note, and knew the texts
by heart; every fault in the music or recitation was severely
censured by the audience. The state of the Roman stage in the time
of Cicero vividly reminds us of the modern French theatre.
As the Roman mime corresponds to the loose tableaux of the pieces
of the day, nothing being too good and nothing too bad for either
the one or the other, so we find in both the same traditionally
classic tragedy and comedy, which the man of culture is in duty bound
to admire or at least to applaud. The multitude is satisfied,
when it meets its own reflection in the farce, and admires
the decorative pomp and receives the general impression of an ideal world
in the drama; the man of higher culture concer