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That one should not condemn all movement, unless one means to condemn even the dance, but only that of ignoble people which is the point of the criticism passed on Callippides and in the present day on others, that their women are not like gentlewomen.
Agesilaus turned, and looking him in the face, "Are you not," said he, "Callippides the showman?" Being invited once to hear a man who admirably imitated the nightingale, he declined, saying, he had heard the nightingale itself.
Bad flute-players twist and twirl, if they have to represent 'the quoit-throw, or hustle the coryphaeus when they perform the 'Scylla. Tragedy, it is said, has this same defect. We may compare the opinion that the older actors entertained of their successors. Mynniscus used to call Callippides 'ape' on account of the extravagance of his action, and the same view was held of Pindarus.
Little credit, perhaps, can be given to what Duris the Samian, who professed to be descended from Alcibiades, adds, that Chrysogonus, who had gained a victory at the Pythian games, played upon his flute for the galleys, whilst the oars kept time with the music; and that Callippides, the tragedian, attired in his buskins, his purple robes, and other ornaments used in the theater, gave the word to the rowers, and that the admiral galley entered into the port with a purple sail.
Little credit, perhaps, can be given to what Duris the Samian, who professed to be descended from Alcibiades, adds, that Chrysogonus, who had gained a victory at the Pythian games, played upon his flute for the galleys, whilst the oars kept time with the music; and that Callippides, the tragedian, attired in his buskins, his purple robes, and other ornaments used in the theatre, gave the word to the rowers, and that the admiral's galley entered into the port with a purple sail.
Such was the fault found in Callippides, as also in others of our own day, who are censured for representing degraded women. Again, Tragedy like Epic poetry produces its effect even without action; it reveals its power by mere reading. If, then, in all other respects it is superior, this fault, we say, is not inherent in it.
Tragedy, then, is said to be an art of this order to be in fact just what the later actors were in the eyes of their predecessors; for Myrmiscus used to call Callippides 'the ape', because he thought he so overacted his parts; and a similar view was taken of Pindarus also. All Tragedy, however, is said to stand to the Epic as the newer to the older school of actors.
Callippides, the tragic actor, who had a great name in all Greece and was made much of, once met and saluted him; of which when he found no notice taken, he confidently thrust himself into his train, expecting that Agesilaus would pay him some attention. When all that failed, he boldly accosted him, and asked him, whether he did not remember him?
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