The _Mimi_ were an impudent race of buffoons, who exulted in mimicry, and, like our domestic fools, were admitted into convivial parties to entertain the guests; from them we derive the term _mimetic_ art. Their powers enabled them to perform a more extraordinary office, for they appear to have been introduced into funerals, to mimic the person, and even the language of the deceased. Suetonius describes an _Archimimus_ accompanying the funeral of Vespasian. This Arch-mime performed his part admirably, not only representing the person, but imitating, according to custom, _ut est mos_, the manners and language of the living emperor. He contrived a happy stroke at the prevailing foible of Vespasian, when he inquired the cost of all this funeral pomp--"Ten millions of sesterces!" On this he observed, that if they would give him but a hundred thousand they might throw his body into the Tiber. The _Pantomimi_ were quite of a different class. They were tragic actors, usually mute; they combined with the arts of gesture music and dances of the most impressive character. Their silent language often drew tears by the pathetic emotions which they excited: "Their very nod speaks, their hands talk, and their fingers have a voice," says one of their admirers. Seneca, the father, grave as was his profession, confessed his taste for pantomimes had become a passion;[33] and by the decree of the Senate, that "the Roman knights should not attend the pantomimic players in the streets," it is evident that the performers were greatly honoured. Lucian has composed a curious treatise on pantomimes. We may have some notion of their deep conception of character, and their invention, by an anecdote recorded by Macrobius of two rival pantomimes. When Hylas, dancing a hymn, which closed with the words "The great Agamemnon," to express that idea he took it in its literal meaning, and stood erect, as if measuring his size--Pylades, his rival, exclaimed, "You make him tall, but not great!" The audience obliged Pylades to dance the same hymn; when he came to the words he collected himself in a posture of deep meditation. This silent pantomimic language we ourselves have witnessed carried to singular perfection; when the actor Palmer, after building a theatre, was prohibited the use of his voice by the magistrates. It was then he powerfully affected the audience by the eloquence of his action in the tragic pantomime of Don Juan![34]