Of Pantomime (26-30)

I think you forget, when you advocate the claims of tragedy and comedy, that each of them has its own peculiar form of dance; tragedy its emmelia, comedy its cordax, supplemented occasionally by the sicinnis, You began by asserting the superiority of tragedy, of comedy, and of the periodic performances on flute and lyre, which you pronounce to be respectable, because they are included in public competitions. Let us take each of these and compare its merits with those of dancing. The flute and the lyre, to be sure, we might leave out of the discussion, as these have their part to play in the dance.

In forming our estimate of tragedy, let us first consider its externals—the hideous, appalling spectacle that the actor presents, His high boots raise him up out of all proportion; his head is hidden under an enormous mask; his huge mouth gapes upon the audience as if he would swallow them; to say nothing of the chest-pads and stomach-pads with which he contrives to give himself an artificial corpulence, lest his deficiency in this respect should emphasize his disproportionate height. And in the middle of it all is the actor, shouting away, now high, now low,—chanting his iambics as often as not; could anything be more revolting than this sing-song recitation of tragic woes? The actor is a mouthpiece: that is his sole responsibility;—the poet has seen to the rest, ages since. From an Andromache or a Hecuba, one can endure recitative: but when Heracles himself comes upon the stage, and so far forgets himself, and the respect due to the lion-skin and club that he carries, as to deliver a solo, no reasonable person can deny that such a performance is in execrable taste.

Then again, your

By comedy, the absurdity of the masks—of a Davus, for instance, or a Tibius, or a cook—is actually claimed as one of its attractions, On the other hand, I need not tell you how decent, how seemly, is the dancer’s attire; any one who is not blind can see that for himself. His very mask is elegant, and well adapted to his part; there is no gaping here; the lips are closed, for the dancer has plenty of other voices at his service.

In old days, dancer and singer were one: but the violent exercise caused shortness of breath; the song suffered for it, and it was found advisable to have the singing done independently.