CHAPTER XVI.

PANTOMIMIC DELUSIONS.

The Art of Mimicry in ancient and modern Times-Superiority of the Ancients in that Art-Advice given by Periander-Fable of Proteus Education required by a Professor of the Pantomimic Art-Herodotus-Personation of the insane Ajax-Timocrates— Archimimes employed at Funerals-Demetrius the Cynic converted Striking Effect of Pantomime on two Barbarian Princes-Pleasure felt by the Roman People on the Recal of Bathyllus-Contest of Bathyllus and Hylas Anecdote of John Kemble Pantomime in Italy-Acting of Portraits and historical Pictures in Italy-The Harlot's Progress represented as a Pantomime-War Dances of the American Indians.

THOUGH the art of mimicry is, in its confined and modern sense, that of mere imitation of manners, and that not often of the most laudable species, yet, in former times, by the excellence of its action, did it impose on the imaginations of the spectators, and persuade them into a belief of the reality of what was represented, even as it were against conviction. A slight notice of such an art may therefore not be out of place, even in a record of the more prominent delusions of the human mind.

The endeavour of one or more individuals to express, or relate, in conjunction, any story by mere action, was carried to much greater perfection among the ancients than now appears to be possible; though, in a less degree, the modern ballet endeavours to relate some story or episode, by the joint means of music and action.

Gestures, says Lord Bacon, are transitory hieroglyphics. They became a species of rhetoric, and much information and meaning were often couched under actions apparently insignificant. Periander,

for instance, being consulted how to preserve a tyranny newly usurped, bade the messengers attend, and repeat to those who sent them what they saw him do; whereupon he went into his garden, and topped the highest flowers, signifying that it consisted in cutting off and keeping low the nobility and grandees.

According to Lucian, a single dancer or mime was able to express all the incidents and sentiments of a whole tragedy or epic poem, by action, accompanied with music, as in the ancient recitation; and the fable of Proteus, he seemed to think, meant no more than that he was an accomplished pantomime.

The education of a mime would-by the same writer's description of his qualities-seem to have required his whole life to make himself master of his profession; for, says he, I shall now unfold the qualities which a good dancer ought to have, to show that this art is none of the easiest; for the pantomime, or dancer of the ballet, must know several things, as poetry, geometry, music, and philosophy; he must also have the secret of expressing the passion and motion of the soul which rhetoric teaches, and borrow from painting and sculpture the different postures and faces; above all, he has need of a memory; like Chalchas, in Homer, he must know the past, the present, and what is to come, and have them always ready in his mind; in short, as the Pythian oracle said, the spectator must understand the dancer though dumb, and hear him though silent.

Herodotus says, "The eyes are more faithful than the ears, because you sooner believe what you see than what you hear."

Lucian mentions a famous mime, who played Ajax the madman so well, and raged in such a way, that one would have said he did not counterfeit, but was

mad in reality; and the spectators were so ravished with the extravagance they beheld, that they made a hundred ridiculous postures, as if they had been mad themselves.

Timocrates, a tutor in philosophy, and who, from conscientious motives, had declined being present at such games, by accident seeing a pantomime, cried out, "what admirable sights have I lost by a philosophical modesty!" and ever afterwards attended them.

This kind of scenic representation was given at funerals, and the actors were called archimimes; they went before the coffin, and imitated the gestures and actions of the deceased; his virtues and vices were exhibited, but the propensity to raillery inclined the mimes rather to reveal the frailties, than paint the virtues, of the departed.

Demetrius the cynic, a disciple of Apollonius Tyaneus, disdained and railed at the art, as an absurd and useless motion, and that all the success of the mimes was derived solely from the music; but a famous mime, in Nero's time, invited him to see him dance, and, having witnessed his performance, then to find fault with him. Having imposed silence on the music, he danced the story of the amours of Mars and Venus, the discovery of them by the Sun, and Vulcan catching them in his steel net; in short, so well was it done, that Demetrius, transported, cried out aloud, "I hear, my friend, what you act; I not only see the persons you represent, but methinks you speak with your hands."

A barbarian prince having come to Rome from Pontus, and witnessing the performance of this same man, begged him as a present from Nero, who asked the use he wanted to make of him. The prince re

plied, that he had many nations bordering on his, all of which spoke different languages, and that he found it difficult to procure interpreters to them all; which difficulty would be removed by the possession of this man; since, by his movements and gesticulations, he could inform him of all the others had to negotiate.

Another barbarian, coming to see a piece which seemed to require five actors, and finding only one, inquired who would personate the other four; but, at the end of the exhibition, he said, "I was mistaken in you, my friend; who, though you have but one body, have five souls."

Augustus, by recalling Pylades, a banished pantomimist, greatly gratified the Roman people, and diverted their attention from popular ebullitions; for which reason, amongst others, it is said, they ceased to be angry with some inconvenient laws which that emperor had made.

The great rival of Pylades was Bathyllus; but he had another rival, one Hylas, a former pupil of his. Backed by the public, which had taken offence at an indiscretion committed by Pylades, Hylas ventured to The challenge his former tutor to a trial of skill. character of Agamemnon was that in which the comThe better to petitors were to exhibit their talents. personate the great leader of the Greeks, Hylas wore high buskins, and stood upon tiptoe. This mistake of physical for moral greatness was loudly applauded by the prejudiced spectators. Pylades at length came forward. His attitudes were noble and striking. His arms were crossed over his chest; his eyes were sometimes fixed in deep meditation on the ground, and sometimes turned to heaven. Every gesture and every look marked a sovereign who was pondering on the most important affairs. So expressive was his

action, that his enemies were not proof against the charm of it, and the theatre echoed with tumultuous acclamations. Turning to his baffled rival, Pylades coolly said, "Young man, we had to represent the king of kings; you made him tall, and I made him great."

John Kemble is said to have ironically confounded these distinctions, on the appearance of a new candidate for public approbation on the London stage, who exceeded the military standard considerably in height. After the performance, a critic asked Kemble what he though of Mr. C- ; alluding, of course, to his histrionie talent." Why, sir," replied Kemble, in his dignified manner, "I think Mr. C a very tall man."

There is less to be said of this art in its present state, though pantomime, considered distinct from harlequinade, now receives great attention in Italy. The splendour of the getting up, and the decorations of the ballets, at the grand theatre of "La Scala," at Milan, exceed anything of the kind at other capitals; and the first dancers in such pieces receive continued applause for their exertions, though belonging rather to the department of the posture-master, than to that of descriptive imitation,

The "Somnambulist," however, as performed a few seasons since in England, was a fine specimen of dumb action. Some of the personifications or portraits of Mr. Ducrow, on horseback, were also executed with great cleverness*.

It is a fortunate circumstance, both for Mr. Ducrow and his intelligent horses, that they live in the age they do; for, about the year 1690, a horse, that had been taught a few surprising pranks, was condemned to die for his profound learning, as an impious practitioner of the black art, by that supreme judge of the Christian faith, the Court of the Holy Inquisition.