[13] The ‘mimus’ type is exactly reproduced by more than one popular performer on the modern ‘variety’ or ‘burlesque’ stage. [14] Macrobius, _Sat._ ii. 7; Cicero, _ad Atticum_, xiv. 3; Suetonius, _Augustus_, 45, 68; _Tiberius_, 45; _Caligula_, 27; _Nero_, 39; _Galba_, 13; _Vespasian_, 19; _Domitian_, 10; _Hist. Augusta, Vita Marc. Aurel._ 8. 29; _Vita Commodi_, 3; _Vita Maximini_, 9. [15] Petronius, _Satyricon_, liii; cf. _Taming of the Shrew_, i. 1. 258 ‘’Tis a very excellent piece of work, madam lady; would ’twere done!’ [16] Lucian, _de Saltatione_, 69. [17] Juvenal, _Sat._ vi. 63; Zosimus (450-501 A. D.), i. 6 (_Corp. Script. Hist. Byz._ xx. 12) ἥ τε γὰρ παντόμιμος ὄρχησις ἐν ἐκείνοις εἰσήχθη τοίς χρόνοις ... πολλῶν αἴτια γεγονότα μέχρι τούδε κακῶν. [18] This is not wholly so, at any rate in Tacitus, who seems to include the players both of mimes and of Atellanes amongst _histriones_ (_Ann._ i. 73; iv. 14). For the origin of the name, cf. Livy, vii. 2 ‘ister Tusco verbo ludius vocabatur.’ Besides _ludius_, _actor_ is good Latin. But it is generally used in some such phrase as _actor primarum personarum_, protagonist, and by itself often means _dominus gregis_, manager of the _grex_ or company. _Mimus_ signifies both performer and performance, _pantomimus_ the performer only. He is said _saltare fabulas_. [19] Dion Cassius, liv. 17. [20] Tacitus, _Annales_, i. 77; iv. 14; Dion Cassius, lvii. 21; Suetonius, _Tiberius_, 37. [21] Tacitus, _Annales_, xiii. 25; xiv. 21; Dion Cassius, lix. 2; lxi. 8; lxviii. 10; Suetonius, _Nero_, 16, 26; _Titus_, 7; _Domitian_, 7; Pliny, _Paneg._ 46; _Hist. Augusta, Vita Hadriani_, 19; _Vita Alex. Severi_, 34. [22] The _pyrricha_, a Greek concerted dance, probably of folk origin (cf. ch. ix), was often given a mythological _argumentum_. It was danced in the amphitheatre. [23] Valerius Maximus, ii. 6. 7 ‘eadem civitas severitatis custos acerrima est: nullum aditum in scenam mimis dando, quorum argumenta maiore in parte stuprorum continent actus; ne talia spectandi consuetudo etiam imitandi licentiam sumat.’ [24] A. H. J. Greenidge, _Infamia_ (_passim_); Bouché-Leclercq, _Manuel des Institutions romaines_, 352, 449; _Edictum praetoris in C. I. C. Digest_, iii. 2. 1 ‘infamia notatur qui ... artis ludicrae pronuntiandive causa in scaenam prodierit.’ The jurists limited the application of the rule to professional actors. _Thymelici_, or orchestral musicians, were exempt. Diocletian made a further exemption for persons appearing in their minority (_C. I. C. Cod. Iust._ ii. 11. 21). The censors, on the other hand, spared the _Atellani_, whose performances had a traditional connexion with religious rites. [25] _C. I. L._ i. 122. [26] _C. I. C. Digest_, xlviii. 5. 25. A husband may kill an actor with whom his wife is guilty. [27] _Ibid._ xxiii. 2. 42, 44; xxxviii. 1. 37; Ulpian, _Fragm._ xiii. [28] Tacitus, _Annales_, i. 77. An attempt to restore the old usage under Tiberius was unsuccessful.