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Updated: May 16, 2025
From this, however, there arose on the Italian stage, in after years, the Servetta or Fantesca, a kind of waiting maid, or "accomplished companion" part, and called later, in France, Soubrette, and the origin of which, in all probability, can be traced to the Mimas of Pantomimus.
The Roman audience of the early Empire enjoyed these things, and all sorts of dancing, singing, and instrumental music, and above all the pantomimus, 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.
TIGELLIUS seems to have been the first of these effeminati; he is satirised by Horace, but his influence was inappreciable compared with that of his successors. The pantomimus aspired to render the emotions of terror or love more speakingly by gesture than it was possible to do by speech; and ancient critics, while deploring, seem to have admitted this claim.
To these wandering Bohemians we owe such traditions of the drama that survived with them into succeeding ages; and to them also we are indebted for keeping alive by inculcating unto others the Art of Pantomimus, when in the heyday of its popularity in the Roman Empire. Percy, in his "Reliques of Ancient English Poetry," also takes this view.
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