HKB
c. 6, and l. xxviii. c. 4,) after describing the luxury and pride of the nobles of Rome, exposes, with equal indignation, the vices and follies of the common people.]
But the most lively and splendid amusement of the idle multitude, depended on the frequent exhibition of public games and spectacles. The piety of Christian princes had suppressed the inhuman combats of gladiators; but the Roman people still considered the Circus as their home, their temple, and the seat of the republic. The impatient crowd rushed at the dawn of day to secure their places, and there were many who passed a sleepless and anxious night in the adjacent porticos. From the morning to the evening, careless of the sun, or of the rain, the spectators, who sometimes amounted to the number of four hundred thousand, remained in eager attention; their eyes fixed on the horses and charioteers, their minds agitated with hope and fear, for the success of the colors which they espoused: and the happiness of Rome appeared to hang on the event of a race. 61 The same immoderate ardor inspired their clamors and their applause, as often as they were entertained with the hunting of wild beasts, and the various modes of theatrical representation. These representations in modern capitals may deserve to be considered as a pure and elegant school of taste, and perhaps of virtue. But the Tragic and Comic Muse of the Romans, who seldom aspired beyond the imitation of Attic genius, 62 had been almost totally silent since the fall of the republic; 63 and their place was unworthily occupied by licentious farce, effeminate music, and splendid pageantry. The pantomimes, 64 who maintained their reputation from the age of Augustus to the sixth century, expressed, without the use of words, the various fables of the gods and heroes of antiquity; and the perfection of their art, which sometimes disarmed the gravity of the philosopher, always excited the applause and wonder of the people. The vast and magnificent theatres of Rome were filled by three thousand female dancers, and by three thousand singers, with the masters of the respective choruses. Such was the popular favor which they enjoyed, that, in a time of scarcity, when all strangers were banished from the city, the merit of contributing to the public pleasures exempted them from a law, which was strictly executed against the professors of the liberal arts. 65
61 (return) [ Juvenal. Satir. xi. 191, &c. The expressions of the historian Ammianus are not less strong and animated than those of the satirist and both the one and the other painted from the life. The numbers which the great Circus was capable of receiving are taken from the original Notitioe of the city. The differences between them prove that they did not transcribe each other; but the same may appear incredible, though the country on these occasions flocked to the city.]
62 (return) [ Sometimes indeed they composed original pieces.
Vestigia Graeca Ausi deserere et celeb rare domestica facta.
Horat. Epistol. ad Pisones, 285, and the learned, though perplexed note of Dacier, who might have allowed the name of tragedies to the Brutus and the Decius of Pacuvius, or to the Cato of Maternus. The Octavia, ascribed to one of the Senecas, still remains a very unfavorable specimen of Roman tragedy.]
63 (return) [ In the time of Quintilian and Pliny, a tragic poet was reduced to the imperfect method of hiring a great room, and reading his play to the company, whom he invited for that purpose. (See Dialog. de Oratoribus, c. 9, 11, and Plin. Epistol. vii. 17.)]