A History of Pantomime. R. J. Broadbent
grace.
"'Tis thine the unbodied spirits of the blessed,
To guide to bliss, and with thy golden rod To rule the shades; above, below, caressed By every god."
Mercury, as we have seen, was among the Ancients, only another name for Noah. "Indeed," says Dr. Clarke, "some of the representations of Mercury upon ancient vases are actually taken from the scenic exhibitions of the Grecian theatre; and that these exhibitions were also the prototypes whereon D'Hancarville shows Mercury, Momus, and Psyche delineated as we see Harlequin, Columbine, and Clown on our stages. The old man (Pantaloon), is Charon (the ferryman of hell). The Clown is Momus, the buffoon of heaven, the god of raillery and wit, and whose large gaping mouth is in imitation of the ancient masks."
Amongst the Aryans, Medians, Egyptians, Chaldeans, Babylonians, and other nations (including our own, as did not Lilly predict the execution of Charles I., the plague, the great fire of London, and other events) was astrology practised. The Egyptians peopled the constellation of the Zodiac (the first open book for mankind to read), with Genii, and one of the twelve Zodiacal signs was Aries (the Ram). The ram is of the same species as the goat, and the god Pan was the Goat god, as we know. The astrologers, in their divinations and rulings of the planets placed the various parts of the body under a planetary influence. The head and face were assigned to the house of Aries, and therefore the face notably for the Pantomimic Art was placed by the ancient astrologers under the influence of this particular planet.
The heathen worship of Pan was not only known in Arcadia, but also throughout Greece, although it did not reach Athens until after Marathon.
Of Pan's death Plutarch tells the story that in the reign of Tiberius, one Thamus, a pilot, visiting the islands of Paxae, was told of this god's death. When he reached Palodes he told the news, whereupon loud and great lamentations were heard, as of Nature herself expressing her grief. The epoch of the story coincides with the enactment of that grim, and the world's greatest tragedy on the hill of Golgotha, and the end, and the beginning of a new world. Rabelais, Milton, Schiller, and also Mrs. Browning, have allusions to this story of Plutarch's.
The ambitious family of the Titans (the bones of the "giants on the earth" before the Deluge, gave rise to the stories of the Titans found in caves), and their scions and coadjutors Jupiter, Juno, Mars, Mercury, Apollo, Diana, Bacchus, Minerva, or Pallas, Ceres, Proserpine, Pluto, and Neptune furnish by far the greatest part of the Mythology of Greece. Tradition says that they left Phoenicia about the time of Moses to settle in Crete, and from thence they made their way into Greece, which was supposed at that time to be inhabited by a race of savages. The arts and inventions were communicated to the natives, and the blessings of civilization in process of time inspired the inhabitants with admiration. They, therefore, relinquished worshipping the luminary and heavenly bodies, and transferred their devotion to their benefactors. Then into existence sprang the most inconsistent and irreconcilable fictions. The deified mortals, with their foibles and frailities, were transmitted to posterity in the most glorious manner possible, and hence accordingly, in both the Odyssey and the Iliad of Homer, we have a strange and heterogeneous mixture of what is not only mighty in heroes, but also that which is equally mean.
In the Grecian Mythology the labours of Hercules, the expedition of Osiris, the wanderings and transformation of Io, the fable of the conflagration of Phaeton, the rage of Proserpine, the wanderings of Ceres, the Eleusinian Mysteries, the Orgia, or sacred rites of Bacchus, in fine, the ground work of Grecian Mythology is to be traced to the East, from where also all our nursery tales, and also our popular Pantomime subjects; (which is the subject of another chapter) perhaps, with the exception of our own "Robinson Crusoe," originated.
The nine Muses called Pierides in Grecian Mythology were the daughters of Jupiter and Mnemosyne (Memory), supposed to preside over the liberal Arts and the sciences. They were Calliope (Heroic Poetry), Clio Euterpe (Music), Erato (Love Poetry), Melpomene (Tragedy), Polyhymnia (Muse of Singing and Rhetoric), Terpsichore (Dancing), Thalia (Comedy), and Urania (Astronomy). Mount Parnassus, Mount Helicon, and the fountains of Castalia and Aganippe were the sacred places of the Muses.
The Eleusinian Mysteries are of a period that may be likened to the 7th century B.C., and at these Mysteries as many as 30,000 persons, in the time of Herodotus, assembled to witness them. The attributes of these Grecian Mysteries, like those of the Egyptians, consisted of processions, sacrificial offerings, purifications, dances, and all that the Mimetic and the other Arts could convey; add to this the various coloured lights, and the fairy-like grandeur of the whole, we have something that may be likened to the Transformation, and other fairy-like scenes of English Pantomimes and Extravaganzas.
At the Orgia, or sacred rites of Bacchus, the customary sacrifice to be offered, because it fed on vines, was the goat. The vine, ivy, laurel, asphodel, the dolphin, lynx, tiger, and ass were all sacred to Bacchus. The acceptable sacrifice to Venus was a dove; Jupiter, a bull; an ox of five years old, ram or boar pig to Neptune; and Diana, a stag. At the inception of the Bacchanalian festivals in Greece, the tragic song of the Goat, a sacred hymn was sung, and from which rude beginning sprang the Tragedy and Comedy of Greece. The Greeks place every event as happening in their country, and it is not surprising that they claim for themselves the inception of Tragedy and Comedy, which they undoubtedly were the originators of in Greece, but the religious festivals of Dionysus, Osiris, and Bacchus, to which we are supposed to owe the inception of Tragedy and Comedy, were known long before the Greeks knew them. (Dionysus was the patron and protector of theatres.) "The purport of the song was that Bacchus imparted his secret of the cultivation of vines to a petty prince in Attica, named Icarius, who happened one day to espy a goat brouzing upon his plantations, immediately seized, and offered it up as a sacrifice to his divine benefactor; the peasants assembled round their master, assisted in the ceremony, and expressed their joy and gratitude in music, songs, dances, and Pantomime on the occasion; the sacrifice grew into a festival, and the festival into an annual solemnity, attended most probably every year with additional circumstances, when the countrymen flocked together in crowds, and sang in rustic strains the praises of their favourite deity."
Amongst the reported followers of these Bacchanalian festivals were those fabulous race of grotesque sylvan beings, previously referred to, known as the Satyrs. They were of a sturdy frame, in features they had broad snub noses, and appeared in rough skins of animals with large pointed ears, heavy knots on their foreheads, and a small tail. The elder Satyrs were known as Sileni. The younger were more pleasing and not so grotesque or repulsive in appearance as the elder Satyrs. To the Satyrs can be traced the variegated dress of the modern Harlequin, as in ancient Greek history mention is made of the performers enacting Satyrs being sometimes habited in a tiger's skin of various colours, which encircled the performer's body tightly, and who carried a wooden sword, wore a white hat, and a brown mask. According to Servius (as we have seen) Pan had also a bright spotted dress "in likeness of the stars."
From these rustic festivals originated the Satyr, or Satirical Drama, as did its Italian prototype, the Fabulae Atellanae or, Laudi Osci. These rural sacrifices became, in process of time, a solemn fast, and assumed all the pomp and splendour of a religious ceremony; poets were employed by the magistrate to compose hymns, or songs, for the occasion; such was the rudeness and simplicity of the age that their bards contended for a prize, which, as Horace intimates, was scarce worth contending for, being no more than a goat or skin of wine, which was given to the happy poet who acquitted himself best in the task assigned him.
From such small beginnings Tragedy and Comedy took their rise; and like (as the best writers on these subjects tell us) every other production of human art, extremely contemptible; that wide and deep stream, which flows with such strength and rapidity through cultivated Greece, took its rise from a small and inconsiderable fountain, which hides itself in the recesses of antiquity, and is almost buried in oblivion; the name alone remains to give us some light into its original nature, and to inform us, that Tragedy and Comedy, like every other species of poetry, owe their birth to Religion.
Appropriately does Horace observe:—
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