[49] The
_tibicen_, as he steps forth to render the overture, is greeted
uproariously as an old favorite. The manager perhaps appears and announces
the names of those taking part, each one of whom is doubtless applauded or
hissed in proportion to his measure of popularity. Differences of opinion
as to the merits of an individual actor may culminate in the partisans'
coming to blows.[50] Horace (_Ep._ II. I. 200 ff.) comments on the
turbulence of the audiences of his day too; while under the Empire
factions for and against particular actors grew up, as in the circus.[51]
Late-comers of course often disturbed the Prologus in his lines. The
continual reiteration that we find in such prologues as the _Amph._,
_Cap._ and _Poen._ was naturally designed as a safeguard against such
disturbance. Yet these prologues were undoubtedly composed, as Ritschl has
shown (_Par._ 232 ff.), shortly after 146 B.C., and the turbulence of the
original audience must have been far greater.
To win the favor of such a crowd, which would groan if instead of the
expected comedy a tragedy should be announced,[52] what methods were
necessary? Slap-sticks, horse-play, broad slashing swashbuckling humor,
thick colors daubed on with lavish brush!
By Cicero's time the public had attained to such a degree of
sophistication that the slightest slip on the part of the wretched actor
was greeted by a storm of popular disapproval.
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