Ab urbe condita

Circus. They began, however, in a small way, as nearly everything does, and small as they were, they were borrowed from abroad. The players were sent for from Etruria; there were no words, no mimetic action; they danced to the measures of the flute and practised graceful movements in Tuscan

fashion. Afterwards the young men began to imitate them, exercising their wit on each other in burlesque verses, and suiting their action to their

words. This became an established diversion, and was kept up by frequent practice. The Tuscan word for an actor is istrio, and so the native performers were called

histriones. These did not, as in former times, throw out rough extempore effusions like the Fescennine verse, but they chanted satyrical verses quite metrically arranged and adapted to the notes of the flute, and these they accompanied with appropriate movements. Several years later Livius for the first time abandoned the loose satyrical verses and ventured to compose a play with a coherent

plot. Like all his contemporaries, he acted in his own plays, and it is said that when he had worn

out his voice by repeated recalls he begged leave to place a second player in front of the flutist to sing the monologue while he did the acting, with all the more energy because his voice no longer embarrassed

him. Then the practice commenced of the chanter following the movements of the actors, the dialogue alone being left to their