About the year 50 B.C., as we have seen in the chapter on education, there came to Italy the Syrian Publilius, who began to write mimes in verse, thus for the first time giving them a literary turn.  Caesar, always on the look-out for talent, summoned him to Rome, and awarded him the palm for his plays.[525] These must have been, as regards wit and style, of a much higher order than any previous mimes, and in fact not far removed from the older Roman comedy (fabula togata) in manner.  Cicero alludes to them twice:  and writing to Cornificius from Rome in October 45 he says that at Caesar’s ludi he listened to the poems of Publilius and Laberius with a well-pleased mind.[526] “Nihil mihi tamen deesse scito quam quicum haec familiariter docteque rideam”; here the word docte seems to suggest that the performance was at least worthy of the attention of a cultivated man.  Laberius, also a Roman knight, wrote mimes at the same time as Publilius, and was beaten by him in competition; of him it is told that he was induced by Caesar to act in his own mime, and revenged himself for the insult, as it was then felt to be by a Roman of good birth, in a prologue which has come down to us.[527] We may suppose that his plays were of the same type as those of Publilius, and interspersed with those wise sayings, sententiae, which the Roman people were still capable of appreciating.  Even in the time of Seneca applause was given to any words which the audience felt at once to be true and to hit the mark.[528]

Thus the mime was lifted from the level of the lowest farcical improvisation to a recognised position in literature, and quite incidentally became useful in education.  But the coarseness remained; the dancing was grotesque and the fun ribald, and, as Professor Purser says, the plots nearly always involved “some incident of an amorous nature in which ordinary morality was set at defiance.”  The Roman audience of the early Empire enjoyed these things, and all sorts of dancing, singing, and instrumental music, and above all the pantomimus,[529] in which the actor only gesticulated, without speaking; this and the fact that the real drama never again had a fair chance is one of the many signs that the city population was losing both virility and intelligence.

CHAPTER XI

RELIGION

It is easy to write the word “religion” at the head of this chapter, but by no means easy to find anything in this materialistic period which answers to our use of the word.  In the whole mass, for example, of the Ciceronian correspondence, there is hardly anything to show that Cicero and his friends, and therefore, as we may presume, the average educated man of the day, were affected in their thinking or their conduct by any sense of dependence on, or responsibility to, a Supreme Being.  If, however, it had been possible to substitute for the English word the Latin