ment in the
Roman masquerade. Although these farces, at least after they came
to be written, accommodated themselves to the general laws of
literature, and in their metres for instance followed the Greek
stage, they yet naturally retained a far more Latin and more
popular stamp than even the national comedy. The farce resorted
to the Greek world only under the form of travestied tragedy;(15)
and this style appears to have been cultivated first by Novius,
and not very frequently in any case. The farce of this poet moreover
ventured, if not to trespass on Olympus, at least to touch the most
human of the gods, Hercules: he wrote a -Hercules Auctionator-.
The tone, as a matter of course, was not the most refined; very
unambiguous ambiguities, coarse rustic obscenities, ghosts
frightening and occasionally devouring children, formed part of
the entertainment, and offensive personalities, even with the mention
of names, not unfrequently crept in. But there was no want also of
vivid delineation, of grotesque incidents, of telling jokes, and of
pithy sayings; and the harlequinade rapidly won for itself no
inconsiderable position in the theatrical life of the capital
and even in literature.

Dramatic Arrangements

Lastly as regards the development of dramatic arrangements we are
not in a position to set forth in detail--what is clear on the
whole--that the general interest in dramatic performances was
constantly on the increase, and that they became more and more
frequent and magnificent. Not only was there hardly any ordinary
or extraordinary popular festival that was now celebrated without
dramatic exhibitions; even in the country-towns and in private
houses representations by companies of hired actors were common.
It is true that, while probably various municipal towns already at
this time possessed theatres built of stone, the capital was still
without one; the building of a theatre, already contracted for,
had been again prohibited by the senate in 599 on the suggestion
of Publius Scipio Nasica. It was quite in the spirit of the
sanctimonious policy of this age, that the building of a permanent
theatre was prohibited out of respect for the customs of their
ancestors, but nevertheless theatrical entertainments were allowed
rapidly to increase, and enormous sums were expended annually
in erecting and decorating structures of boards for them.
The arrangements of the stage became visibly better. The improved
scenic a