names should be branded by the censor, and erased from the roll of their tribe." An excellent decree, and another testimony to the sagacity of Rome; but I could wish their prudence had been more thoroughgoing and consistent. For when I hear that if any Roman citizen chose the stage as his profession, he not only closed to himself every laudable career, but even became an outcast from his own tribe, I cannot but exclaim: This is the true Roman spirit, this is worthy of a state jealous of its reputation. But then some one interrupts my rapture, by inquiring with what consistency players are debarred from all honours, while plays are counted among the honours due to the gods? For a long while the virtue of Rome was uncontaminated by theatrical exhibitions;99 and if they had been adopted for the sake of gratifying the taste of the citizens, they would have been introduced hand in hand with the relaxation of manners. But the fact is, that it was the gods who demanded that they should be exhibited to gratify them. With what justice, then, is the player excommunicated by whom God is worshipped? On what pretext can you at once adore him who exacts, and brand him who acts these plays? This, then, is the controversy in which the Greeks and Romans are engaged. The Greeks think they justly honour players, because they worship the gods who demand plays: the Romans, on the other hand, do not suffer an actor to disgrace by his name his own plebeian tribe, far less the senatorial order. And the whole of this discussion may be summed up in the following syllogism. The Greeks give us the major premiss: If such gods are to be worshipped, then certainly such men may be honoured. The Romans add the minor: But such men must by no means be honoured. The Christians draw the conclusion: Therefore such gods must by no means be worshipped.
We have still to inquire why the poets who write the plays, and who by the law of the twelve tables are prohibited from injuring the good name of the citizens, are reckoned more estimable than the actors, though they so shamefully asperse the character of the gods? Is it right that the actors of these poetical and God-dishonouring effusions be branded, while their authors are honoured? Must we not here award the palm to a Greek, Plato, who, in framing his ideal republic,100 conceived that poets should be banished from the city as enemies of the state? He could not brook that the gods be brought into disrepute, nor that the minds of the citizens be depraved and besotted, by the fictions of the poets. Compare now human nature as you see it in Plato, expelling poets from the city that the citizens be uninjured, with the divine nature as you see it in these gods exacting plays in their own honour. Plato strove, though unsuccessfully, to persuade the light-minded and lascivious Greeks to abstain from so much as writing such plays; the gods used their authority to extort the acting of the same from the dignified and sober-minded Romans. And not content with having them acted, they had them dedicated to themselves, consecrated to themselves, solemnly celebrated in their own honour. To which, then, would it be more becoming in a state to decree divine honours, – to Plato, who prohibited these wicked and licentious plays, or to the demons who delighted in blinding men to the truth of what Plato unsuccessfully sought to inculcate?
We have still to inquire why the poets who write the plays, and who by the law of the twelve tables are prohibited from injuring the good name of the citizens, are reckoned more estimable than the actors, though they so shamefully asperse the character of the gods? Is it right that the actors of these poetical and God-dishonouring effusions be branded, while their authors are honoured? Must we not here award the palm to a Greek, Plato, who, in framing his ideal republic,[100] conceived that poets should be banished from the city as enemies of the state? He could not brook that the gods be brought into disrepute, nor that the minds of the citizens be depraved and besotted, by the fictions of the poets. Compare now human nature as you see it in Plato, expelling poets from the city that the citizens be uninjured, with the divine nature as you see it in these gods exacting plays in their own honour. Plato strove, though unsuccessfully, to persuade the light-minded and lascivious Greeks to abstain from so much as writing such plays; the gods used their authority to extort the acting of the same from the dignified and sober-minded Romans. And not content with having them acted, they had them dedicated to themselves, consecrated to themselves, solemnly celebrated in their own honour. To which, then, would it be more becoming in a state to decree divine honours, – to Plato, who prohibited these wicked and licentious plays, or to the demons who delighted in blinding men to the truth of what Plato unsuccessfully sought to inculcate?
This philosopher, Plato, has been elevated by Labeo to the rank of a demigod, and set thus upon a level with such as Hercules and Romulus. Labeo ranks demigods higher than heroes, but both he counts among the deities. But I have no doubt that he thinks this man whom he reckons a demigod worthy of greater respect not only than the heroes, but also than the gods themselves. The laws of the Romans and the speculations of Plato have this resemblance, that the latter pronounces a wholesale condemnation of poetical fictions, while the former restrain the licence of satire, at least so far as men are the objects of it. Plato will not suffer poets even to dwell in his city: the laws of Rome prohibit actors from being enrolled as citizens; and if they had not feared to offend the gods who had asked the services of the players, they would in all likelihood have banished them altogether. It is obvious, therefore, that the Romans could not receive, nor reasonably expect to receive, laws for the regulation of their conduct from their gods, since the laws they themselves enacted far surpassed and put to shame the morality of the gods. The gods demand stage-plays in their own honour; the Romans exclude the players from all civic honours:101 the former commanded that they should be celebrated by the scenic representation of their own disgrace; the latter commanded that no poet should dare to blemish the reputation of any citizen. But that demigod Plato resisted the lust of such gods as these, and showed the Romans what their genius had left incomplete; for he absolutely excluded poets from his ideal state, whether they composed fictions with no regard to truth, or set the worst possible examples before wretched men under the guise of divine actions. We for our part, indeed, reckon Plato neither a god nor a demigod; we would not even compare him to any of God's holy angels, nor to the truth-speaking prophets, nor to any of the apostles or martyrs of Christ, nay, not to any faithful Christian man. The reason of this opinion of ours we will, God prospering us, render in its own place. Nevertheless, since they wish him to be considered a demigod, we think he certainly is more entitled to that rank, and is every way superior, if not to Hercules and Romulus (though no historian could ever narrate nor any poet sing of him that he had killed his brother, or committed any crime), yet certainly to Priapus, or a Cynocephalus,102 or the Fever,103– divinities whom the Romans have partly received from foreigners, and partly consecrated by home-grown rites. How, then, could gods such as these be expected to promulgate good and wholesome laws, either for the prevention of moral and social evils, or for their eradication where they had already sprung up? – gods who used their influence even to sow and cherish profligacy, by appointing that deeds truly or falsely ascribed to them should be published to the people by means of theatrical exhibitions, and by thus gratuitously fanning the flame of human lust with the breath of a seemingly divine approbation. In vain does Cicero, speaking of poets, exclaim against this state of things in these words: "When the plaudits and acclamation of the people, who sit as infallible judges, are won by the poets, what darkness benights the mind, what fears invade, what passions inflame it!"104
But is it not manifest that vanity rather than reason regulated the choice of some of their false gods? This Plato, whom they reckon a demigod, and who used all his eloquence to preserve men from the most dangerous spiritual calamities, has yet not been counted worthy even of a little shrine; but Romulus, because they can call him their own, they have esteemed more highly than many gods, though their secret doctrine can allow him the rank only of a demigod. To him they allotted a flamen, that is to say, a priest of a class so highly esteemed in their religion (distinguished, too, by their conical mitres), that for only three of their gods were flamens appointed – the Flamen Dialis for Jupiter, Martialis for Mars,
According to Livy (vii. 2), theatrical exhibitions were introduced in the year 392 a. u. c. Before that time, he says, there had only been the games of the circus. The Romans sent to Etruria for players, who were called "histriones," "hister" being the Tuscan word for a player. Other particulars are added by Livy.
See the
The Egyptian gods represented with dogs' heads, called by Lucan (viii. 832)
The Fever had, according to Vives, three altars in Rome. See Cicero,
Cicero,
