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Which kind of amusement, received from the Osci, the young kept to themselves, nor did they suffer it to be debased by regular players. Hence it remains an established usage that the actors of the Atellan farces are neither degraded from their tribe, and may serve in the army, as if having no connexion with the profession of the stage.
The appellation of "Atellan play" is to be explained in another way. The Latin farce with its fixed characters and standing jests needed a permanent scenery: the fool- world everywhere seeks for itself a local habitation.
None of these Atellan Farces have been committed to us, but Cicero, in a letter to his friend Papyrius Paetus, speaks of them as the "More delicate burlesque of the old Atellan Farces." On English dramatic literature the Italian Extemporal Comedies and their Pantomimical characters have also had a considerable amount of influence.
The close and original connection, which Livy in particular represents as subsisting between the Atellan farce and the -satura- with the drama thence developed, is not at all tenable.
At other times, the guests performed farces in the old Atellan style. As a free association of very varied elements, the academy lasted in its original form down to the sack of Rome, and included among its hosts Angelus Coloccius, Johannes Corycius and others.
In the "picture of life" or mime alone the last still vigorous product of the national literature, the Atellan farce, became engrafted with the ethological offshoots of Greek comedy, which Alexandrinism cultivated with greater poetical vigour and better success than any other branch of poetry.
The close and original connection, which Livy in particular represents as subsisting between the Atellan farce and the -satura- with the drama thence developed, is not at all tenable.
It was not until the present period that the Atellan piece was handed over to actors properly so called, and was employed, like the Greek satyric drama, as an afterpiece particularly after tragedies; a change which naturally suggested the extension of literary activity to that field.
It was not until the present period that the Atellan piece was handed over to actors properly so called, and was employed, like the Greek satyric drama, as an afterpiece particularly after tragedies; a change which naturally suggested the extension of literary activity to that field.
In the "picture of life" or mime alone the last still vigorous product of the national literature, the Atellan farce, became engrafted with the ethological offshoots of Greek comedy, which Alexandrinism cultivated with greater poetical vigour and better success than any other branch of poetry.
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