BOOK II. THE ERA OF CICERO AND AUGUSTUS. CHAPTER I. PROSE THE TEST OF THE CONDITION OF A LANGUAGE—DRAMATIC LITERATURE EXTINCT—MIMES—DIFFERENCE BETWEEN ROMAN AND GREEK MIMES—LABERIUS—PASSAGES FROM HIS POETRY—MATIUS CALVENA—MIMIAMBI—PUBLIUS SYRUS—ROMAN PANTOMIME—ITS LICENTIOUSNESS—PRINCIPAL ACTORS OF PANTOMIME. During the period upon which we are now entering, Roman literature arrived at its greatest perfection. The time at which it attained the highest point of excellence is fixed by Niebuhr[438] about A. U. C. 680, when Cicero was between thirty and forty years old. Poetry, indeed, still continued to improve, as regarded metrical structure and diction, in finish, smoothness, and harmony. There is _ex. gr._ in these respects a marked difference between the works of Lucretius and Virgil; but nevertheless the principles of language now became fixed and settled. In fact, the condition of a language must be judged of by its prose; so must likewise the state of perfection to which its literature has attained. If poetry could be with propriety assumed as the standard, the commencement of the empire of Augustus would constitute the best age of Latin literature, rather than the time when the forum echoed with the eloquence of Cicero; but in the two ages of Cicero and Augustus, taken together as forming one era, is comprehended the golden age both of poetry and prose. Dramatic literature, however, never recovered from the trance into which it had fallen. The stage had not altogether lost that popularity which it had possessed in the days of Attius and Terence, for Æsopus and Roscius, the former the great tragedian, the latter the favourite comedian, in the time of Cicero, amassed great wealth. Æsopus lived liberally,[439] and yet bequeathed a fortune to his son, and Roscius is said to have earned daily the sum of thirty-two pounds. Notwithstanding, also, the degradation attached to the social position of an actor, both these eminent artists enjoyed the friendship of Cicero and other great men. They brought to the study of their profession industry, taste, talent, and learning, and these qualities were appreciated. Æsopus was on one occasion encored a countless number of times (_millies_)[440] by an enthusiastic audience, and Roscius was elevated by Sulla to the equestrian dignity. But although the standard Roman plays were constantly represented, dramatic literature had become extinct. No one wrote comedy at all, and the tragedies of Valgius Rufus and Asinius Pollio were only intended for reading or recitation. Nor, as has been already shown, does the Thyestes of Varus really form an exception to this statement. The dramatic entertainments which had now taken the place of comedy and tragedy were termed mimes.