After making our way past these people also, we entered the Acherusian Plain, where we found the demigods and the fair women and the whole crowd of the dead, living by nations and by clans, some of them ancient and mouldy, and, as Homer says, “impalpable,” while others were still well preserved and substantial, particularly the Egyptians, thanks to the durability of their embalming process. It was not at ail easy, though, to tell them apart, for all, without exception, become precisely alike when their bones are bare. However, with some difficulty and by dint of long study we made them out. But they were lying one atop of another, ill-defined, unidentified, retaining no longer any trace of earthly beauty. So, with many skeletons lying together, all alike staring horridly and vacuously and baring their teeth, I questioned myself how I could distinguish Thersites from handsome Nireus, or the mendicant Irus from the King of the Phaeacians, or the cook Pyrrhias from Agamemnon; for none of their former means of identification abode with them, but their bones were all alike, undefined, unlabelled, and unable ever again to be distinguished by anyone.

So as I looked at them it seemed to me that human life is like a long pageant, and that all its trappings are supplied and distributed by Fortune, who arrays the participants in various costumes of many colours. Taking one person, it may be, she attires him royally, placing a tiara upon his head, giving him body-guards, and encircling his brow with the diadem; but upon another she puts the costume of a slave. Again, she makes up one person so that he is handsome, but causes another to be ugly and ridiculous. I suppose that the show must needs be diversified. And often, in the very middle of the pageant, she exchanges the costumes of several players; instead of allowing them to finish the pageant in the parts that had been assigned to them, she re-apparels them, forcing Croesus to assume the dress of a slave and a captive, and shifting Maeandrius, who formerly paraded among the servants, into the imperial habit of Polycrates. For a brief space she lets them use their costumes, but when the time of the pageant is over, each gives back the properties and lays off the costume along with his body, becoming what he was before his birth, no different from his neighbour. Some, however, are so ungrateful that when Fortune appears to them and asks her trappings back, they are vexed and indignant, as if they were being robbed of their own property, instead of giving back what they had borrowed for a little time. I suppose you have often seen these stage-folk who act in tragedies, and according to the demands of the plays become at one moment Creons, and again Priams or Agamemnons; the very one, it may be, who a short time ago assumed with great dignity the part of Cecrops or of Erectheus soon appears as a servant at the bidding of the poet. And when at length the play comes to an end, each of them strips off his gold-bespangled robe, lays aside his mask, steps out of his buskins, and goes about in poverty and humility, no longer styled Agamemnon, son of Atreus, or Creon, son of Menoeceus, but Polus, son of Charicles, of Sunium, or Satyrus, son of Theogiton, of Marathon.

Polus and Satyrus were famous actors, both of the fourth century B.C.