_Epist_. ii. 1. 145 foll.
These amusements were always accompanied with the music and dancing
so dear to the Italian peoples, and it is easy to divine how they may
have gradually developed into plays of a rude but tolerably fixed
type, with improvised dialogue, acted in the streets, or later in the
intervals between acts at the theatre, and eventually as afterpieces,
more after our own fashion.
In Cicero's day two kinds of farces were in vogue. In his earlier life
the so-called Atellan plays (fabulae Atellanae) were the favourites:
these were of indigenous Latin origin, and probably took their name
from the ruined town Atella, which might provide a permanent scenery
as the background of the plays without offending the jealousy of any
of the other Latin cities.[522] They were doubtless very comic, but it
was possible to get tired of them, for the number of stock
characters was limited, and the masks were always the same for each
character--the old man Pappus, the glutton Bucco, Dossennus the
sharper, etc.
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