M i M 
409 
M I M 
redly what the Romans called mimes ; the intended end . 
and eft'eft of which was exceffive laughter. Wartons Hijl. 
Eng. Poet. iii. 3S 1 - . . , _ , 
Some of the mimes a died their parts to the found of the 
tibia; thefe they called mimauli. The fame comedians 
were alfo fometimes called panto-mimes, becaufe of their 
counterfeiting all manner of poftures and geftures. Ac¬ 
cording to Lucian (de Saltatione), a fingle dancer, or 
mime, was able to exprefs all the incidents and fentiments 
of a whole tragedy or epic poem, by dumb figns, but ftill 
to mufic, as in the ancient recitation, and in modern 
pantomime entertainments; though Ariftotle exprefsly 
fays, that dancers want neither poetry nor mufic ; as, by 
the affiftance of meafure and cadence only, they can imi¬ 
tate human manners, actions, and patfions. 
Plutarch (Sympof. 1. vii.) diftinguifhes two kinds of 
pantomime; one was called vnoOscruv, the fubjedl of which 
was decent and decorous, as well as the manner of ex- 
preffing it, and this nearly approached to comedy. Buf¬ 
foonery and indecency conftituted the other, which w'as 
farce. Sophron of Syracufe, who flourifhed in the time 
* of Xerxes, was reputed the inventor of ferious and de¬ 
corous pantomime, replete with leffons of morality. Plato 
had great pleafure in the perufal of the pantomimes of 
this author. But the Greek drama was fcarcely formed, 
ere theatric writers and adtors endeavoured more to di¬ 
vert the people by farces, and reprefentations of vicious 
fcenes and characters, than to improve their morals. Such 
were the means by which interludes on the ftage were 
rendered agreeable to the people of Greece. 
The Romans were equally pleafed w'ith pantomime, and 
formed of it a fourth lpecies of drama. The adtors dif- 
tinguithed themfelves by a licentious imitation of the 
manners of the times, as appears by the following verfe 
of Ovid: “Scribereii fas ell imitantes turpia mimos.” 
The mimes ufually adled without focks or ftockings, 
whereas the three others wore focks or bulkins. Theirheads 
were clofe lhaved, like the fools on mountebank-ftages ; 
their drefs, like that of our harlequins, was compofed of 
bits of cloth or linen of different colours. This drefs was 
tailed pamiiculus ceiitumculus. They fometimes alfo ap¬ 
peared in magnificent fenatorial robes of purple, to divert 
the people by the ridicule and contrail of a lenator’s robe, 
and a lhaved head and focks. Thus harlequin fometimes 
on our ftage is bedight in the garb of a gentleman. To 
this drefs they joined licentious language, and all kinds 
of ridiculous poltures, negledting nothing that could 
amule the populace. This kind of diverfion was given 
even at funerals, and the adtors were called arcld-mimes. 
They went before the coffin, and defcribed by their 
geltures the adlions and manners of the deceafed; his 
virtues and vices, all were exhibited. The propenlity 
which the mimes had to raillery, inclined them rather to 
reveal their frailties, than paint their virtues, or any thing 
that could redound to their honour. 
The applaufe given to the pieces of Plautus and Terence, 
did not prevent even the better fort from admiring thefe 
pantomimic farces, when enlivened by wit, and not debafed 
by indecency. The Romans, who chiefly diltinguiffied 
themfelves in thefe dramatic exhibitions, were Sneius 
Mattius, Decimus Liberius, Publius Syrus, under Julius 
Csefar ; Philiflion, under Auguflus ; Silo, under Tibe¬ 
rius ; Virgilius Romanus, under Trajan; and Marcus 
Marcellus, under Antoninus.. But the mofl celebrated 
of all thefe w'ere Decimus Liberius, and Publius Syrus. 
The firft diverted Julius Gee far fo much, that he made 
him a Roman knight, and conferred on him the privi¬ 
lege of wearing gold rings. He had fuch a wonderful ta¬ 
lent at feizing ridicule, as to make every one dread his 
abilities. To this Cicero alludes, in writing to Trebu- 
tius, when he was in Britain with Julius Caefar, telling 
him, that, “ if he is abfent much longer ina&ive, he mull 
expedl to be attacked by the mime Liberius.” Publius 
Syrus, however, gained fo much more applaufe, that he 
Vol. XV. No. 1053. 
retired to Puzzoli, where he confoled himfelf for his dif- 
grace and the inconllancy of the people, and the tranfient 
Hate of human affairs, by the following admirable vetfe : 
“ Cecidi ego: vadetqui fequitur ; laus eft publica.” 
The mule Polhymnia was the patronefs of mimes, with 
her finger on her mouth in token of filence. Some ety- 
mologifts, among whom are Plutarch and Nonnus, derive 
her name from M»«p, “tradition,” alluding to the tales 
and fables of antiquity. Nonnus, Dionyl. v. io+&feq. 
fays. 
Sweet Polhymnia fee advance. 
Mother of the graceful dance. 
She who taught the ingenious art 
Silent language to impart: 
Signs for ientiment fhe found, 
Eloquence wuthout a found : 
Hands loquacious lave her lungs ; 
All her limbs are fpeaking tongues. 
To MIME, v. n. To play the mime.—In an ill hour 
hath this unfortunate ralhnefs Humbled upon the men¬ 
tion of miming. Milton's Apol.for Sniectymnus. 
Adis old iniquity ; and, in the fit 
Of miming, gets the opinion of a wit. B. Jonfon Epigr. s 15. 
MI'MER,/! A mimic; a buffoon.—Dr. Johnfon here 
cites, for an example, a line from Milton’s Samfon Ago- 
niftes, in which the word is not mimer, but mimic. By an 
error of the prefs, in the firft edition of Milton’s poem, 
the word was printed mimirs ; but the table of errata di- 
refts us to read mimics-, which, however, few editions 
have regarded, and which Dr. Johnfon overlooked. Todd. 
MIME'RE, a river of England, which joins the Beane 
near Ware in Hertfordfhire. 
MIM'ERAN, or Ma'ran, a river of England, which 
rifes near Welwyn, in the county of Hertford, and runs 
into the Lea near Hertford. 
MIM'ESIS, f. [Gr. imitation.] A figure in rhetoric, or 
oratory, by which the words and geftures of fome one are 
reprefented or imitated. 
MIME'TES, f. in botany. See Protea. 
MIMET'ICAL, adj. Imitative.—If I were compofing 
a dialogue in the old mimetical or poetic form, I fhould 
tell you, perhaps, the occafion that led us into this track 
of converlation. Hurd. 
MIMIAM'BUS, J'. A kind of ancient poetry fuited to 
lampoons. 
MIM'IC, f. [mimicus, Lat.] A ludicrous imitator; a 
buffoon who copies another’s a£l or manner fo as to ex¬ 
cite laughter: at firft, fimply an aftor; a player.—No 
matter whether the fcenes be good or no; the better they 
are, the worfe do you diftalle them; and, being on your 
feete, fneke not away like a cow f ard, but falute all your 
gentle acquaintance that are fpred either on the rufhes, 
or on flooles about you, and draw what troope you can 
from the ftage after you : the mimicks are beholden to you, 
for allowing them elbow roome: their poet cries perhaps, 
a pox go with you ; but care not you for that; there’s no 
mufick without frets. Guls Hornchoohe, 1609. 
Like poor Andrew I advance, 
Falfe mimiek of my matter's dance : 
Around the cord awhile I fprawl, 
And thence, though tlow, in earned fall. Prior. 
A mean or fervile imitator.—Cunning is only the mimiek 
of difcretion; and may pafs upon weak men, in the fame 
manner as vivacity is often miftaken for wit, and gravity 
for wifdom. Addifon. 
MIM'IC, adj. Imitative: 
In Reafon’s abfence mimiek Fancy wakes 
To imitate her; but, misjoining thapes, 
Wild w'ork produces oft, and moil in dreams. Milton. 
The bufy head with mimiek art runs o’er 
The fcenes and actions of the day before. Swift. 
5 M To 
