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----A GOSSIP ABOUT PANTOMIMES.

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A GOSSIP ABOUT PANTOMIMES. There are, perhaps, few institutions more inti- mately associated with Christmas and its festivities than pantomimes, whicb, indeed, the younger folk of all large towns and cities anticipate aa anxiously as the season itself; the humours of the clown, the mis- adventures of the policeman, and the magic powers of the harlequin, all causing much previous specula- tion arcong the juvenile population. But the pantomime is by no means the result of modern ingenuity and inventiveness, for its origin can be traced to the remotest times. We know on the best authority that pantomime, or dumb acting and dancing accompanied by music, was in use among the Chinese, the Persians, the Jews, the Egyptians, and other Oriental nations, many centuries before the Christian era. We trace, also, an analogous custom in the periodical musical and fantastical displays on the part of the Indians, and other savage and semi-civilised tribes. Lucian, writing some two centuries before the Christian era, states that the Greeks had introduced the pantomime into their choruses, some of the actors dancing and gesticulating to the accompaniment of music, while others saner. The pantomime was thoroughly estab- lished in the time of Plato. Very early," observes one writer, after the establishment at Athens of a regular stage, historical and heroic ballets appear to have been performed, either as intermezzi, or wovea into the texture of the piece represented. The labyrinth of Crete, the Battle of Theseus, and the Minotaur, as well as other well-known subjects, were performed in pantomime without oral utterance whatever. Proteus, of whom such wonderful changes of posture are related, must have excelled in this particular art most especially." When Greece declined in importance, and Home correspondingly grew, the pantomime was one of the numerous features of Grecian life, which in due ,nurse became an institution in the dramatic repre- sentations of the Romans. At the very earliest stages of the empire, it was popular and much sought after. The pantomimes were said to be the invention of Augustus but before his time the mimi or pantomimi, as the actors-as well as the performances—were called, both spoke and acted. The most celebrated composers of musical per- formances or farces were Laberius and Publiua Syrus, in the time of Julius Cteear. The most famous pantomimes under Augustus were Pylades and Bathyllus, the favourite of Maecenas. Cassiodorus has described the performers at tbe pantomime as men whose eloquent hands have, as it were, a tongue at the tip of each finger, men who speak while they are silent, and know how to make an entire recital without opening their mouths men, in short, whom Polhymnia has formed, in order to show that there is no necessity for articulating in order to convey our thoughts. Polbymnia was the patroness of this mimi, and she is alluded to by Nonnus in the follow- ing lines: Sweet Polhymnia see advance Mother of the graceful dance, She who taught the ingenious art, Silent language to impart; Lips for sentiment she found, Eloquence without a sound Hands loquacious save her lungs, All her limbs are speaking tongues. Bnt a decline in popularity attacked the panto- mime, as everything else, and for centuries it was, with other forms of dancing, almost entirely neglected. But during the fifteenth century a revival was wit- nessed, inasmuch as ballets were revived in Italy at a magnificent entertainment given by Berganza di Bottat a nobleman of Lombardy, to celebrate the marriage between Galeazzo, Duke of Milan, and Isabella of Arragon. But long before this the Italians had a set of buffoons, known as junglers, and from this common fraternity our modern theatrical fools have descended. "The harlequin in the Italian Theatre," remarks D'Israeli, in "The Curiof-ities of Literature," "has passed through all the vicissitudes of fortune. At first he was the true representative of the ancient Roman mime but during the fourteenth and fifteenth centuries he degenerated into a booby and a gourmand, the perfect butt for a sharp-witted fellow, bis com- panion, called Brigbella-the knife and the wbetatone. Harlequin, under the reforming hand of Goldoni, became the child of nature, the delight of his country." But although pantomimes had long been popular on tbe Continent, they did not find their way into England until the commencement of the last century. A very early use of the word occurs in Butler's Hudibras," where we find the following lines Not that I think those pantomimes Who vary actions with the times, Are less ingenious in the art Than those who only act one part. The first regular English pantomime was produced at the little Lincoln's-inn-fields Theatre on December 26,1717, by John Rich, and was entitled" Harlequin Executed." And tbe success of this venture was so great that Rich's powerful managerial rival, Colley Cibber, who controlled the destinies of Old Drury, was reluctantly compelled to follow suit, although he complained that it went sore against his conscience, vet he had not virtue enough to starve himself by op- posing a multitude that would have been too hard for him. Rich, who justly merits the credit of being the founder of the English pantomime, died, aged 70, in 1761 and his mantle fell upon the shoulders of Joseph Grimaldi, the greatest of modern clowni, Wit and Wisdom.

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