Читать книгу A History of Pantomime - R. J. Broadbent - Страница 7

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In the year 2347 B.C., in Chapter 9, verse 20, in Genesis, there occurs: "And Noah began to be a husbandman, and he planted a vineyard." This is one of the first acts that Noah did after the Deluge, and it is, as history tells us, from the rites and ceremonies in celebration of the cultivation of the vine, that we owe the origin of Tragedy and Comedy.

After the Deluge God placed His bow in the heavens as His covenant with man that the world should no more be accursed; and in the first ages of this world's history, Noah and his descendants celebrated their deliverance from the Ark, the return of the seasons, and the promise of plenty in their several religious rites and ceremonies. The children of Shem had in general Asia as their portion; Japhet had Europe; and Ham, Africa.

Soon, however, religion began to lose its purity, and it then began to degenerate very fast. Men began to repair to the tops of mountains, lonely caves and grottoes, where they thought resided their gods. To honour them they erected altars and performed their vows. Amongst the Ancients their Mythology went no further than the epoch of the Deluge, and in honour of which, and also of the Ark, they erected many temples called Aren, Theba, Argus (from whence was probably derived the Argo of the Argonauts, and the sacred ship of Osiris), Cibotus, Toleus, and Baris.

The symbol by which the Mythologists represented the Ark was an immense egg. This was supposed to have been produced by Ether and Chaos, at the bidding of Time, the one ethereal being who created the universe. By Nox (Night) the egg was hatched, which, being opened into two parts, from the upper part was formed heaven, and the lower earth.

In the sacred rites of Osiris, Isis, and the Dionysia of Bacchus, the Ark or Ship was introduced. The Dove, by many nations, in their celebrations, was looked upon as a special emblem of peace and good-will. Theba, in Egypt, was originally one of the temples dedicated to the Ark. Both priests and sooth-sayers were styled Ionah or Doves. To Dodona, in Epirus, was brought this and the first Grecian oracle all the rites and history of the Thebans. The priestesses of this temple were known in the Latin as Columbae. It is from this word that we derive the name Columbine, which means, in the Italian, "little dove." Homer alludes to the priestesses as doves, and that they administered to Zeuth (Noah). Nonnus speaks of Cadmus, and others of Orpheus, as introducing into Greece the rites of Dionysus or Bacchus.

The Ancients, mentions Kennedy in his work on "Mythology," have highly reverenced Noah, and designated him as Noa, Noos, Nous, Nus, Nusas, Nusus (in India), Thoth, Hermes, Mercury, Osiris, Prometheus, Deucalion, Atlas, Deus, Zeus, and Dios. Dios was one of the most ancient terms for Noah, and whence was derived Deus—Nusus compounded of Dios and Nusos, which gives us Dionysus, the Bacchus of the Greeks, and the chief god of the heathen world. Bacchus was, properly speaking, Cush (the son of Ham, and grandson of Noah), though both Dionysus and Bacchus are, by ancient writers, frequently confounded with one another.

The resting of the Ark upon Mount Baris, Minyas, the Ararat of Moses in Armenia, the dispersal of the flood, the multiplication of the families of the earth, and the migration from the plains of Shinar of the descendants of the sons of Chus or Cush (as it is sometimes written), and called Chushites or Cushites, to different parts of the world, being joined by other nations, particularly those of the descendants of Ham, one of the sons of Noah. They were the first apostates from the truth, but being great in worldly wisdom and knowledge they were thought to be, and looked upon as a superior class of beings. Ham they looked upon as a divinity, and under the name of Ammon they worshipped him as the Sun, and Chus likewise as Apollo, a name which was also bestowed by the Ancients upon Noah. The worship of the sun in all probability originated the eastern position in our churches.

Another of the ancient deities worshipped by the Ammonians was Meed, or Meet, the Cybele of the Phrygians, the nurse of Dionysus, and the Soul of the World.

Nimrod, the "mighty hunter" (who possessed the regions of Babylonia and Chaldee), and one of the sons of Cush, was the builder of that seminary of idolatory the City and Tower of Bel, and erected in honour of the god Bel, and another name for the sun. Upon the confusion of tongues when hitherto "The whole earth was of one language, and of one speech," it came to be known as Babylon, "The City of Confusion." Homer introduces Orion (Nimrod) as a giant and a hunter in the shades below, and the author of the "Pascal Chronicles" mentions that Nimrod taught the Assyrians or Babylonians to worship fire. The priests of Ammon, named Petor or Pator, used to dance round a large fire, which they affected in their dancing to describe. Probably from this the Dervish dances all over the East may be traced to this source.

Kennedy observes, of the confusion of tongues at Babel, that it was only a labial failure, so that the people could not articulate. It was not an aberration in words or language, but a failure and incapacity in labial utterance. Epiphanius says that Babel, or Babylon, was the first city built after the flood.

The Cushites were a large and numerous body, and after their dispersion from Babylon they were scattered "Abroad upon the face of the earth." They were the same people who imparted their rites and religious services into Egypt, as far as the Indus and the Ganges, and still further into Japan and China. From this event is to be discovered the fable of the flight of the Grecian god Bacchus, the fabulous wanderings of Osiris, and the same god under another name, of the Egyptians. Wherever Dionysus, Osiris, or Bacchus went, the Ancients say that he taught the cultivation of the soil, and the planting of the vine. Dionysus, Bacchus, or Osiris, as I have shown in a preceding page, were only other designations for Noah.

Of the Hindu heathen deity, Vishnu, Father Boushet mentions an Indian tradition, concerning a flood which covered the whole earth, when Vishnu made a raft, and, being turned into a fish, steered it with his tail. Vishnu, like Dagon, was represented under the figure of a man and fish.

Strangely enough, the regions said to have been traversed by Dionysus, Osiris, or Bacchus were, at different times, passed through by the posterity of Ham, and in many of them they took up their residence. In his journeyings the chief attendants of Osiris, or Bacchus, were Pan, Anabis, Macedo, the Muses, the Satyrs, and Bacchic women were all in his retinue. The people of India claim him as their own, and maintain that he was born at Nusa in their country. Arrian speaks of the Nuseans as being the attendants of Dionysus. In all traditions Dionysus appears as the representative of some power of Nature.

The first who reduced Mythology to a kind of system were, in all probability, the Egyptians. Egypt was ever the land of graven images, and under the veil of Allegory and Mythology the priests concealed religion from the eyes of the vulgar. In the beginning, brute animals and certain vegetables were represented as the visible symbols of the deities to which they were consecrated. Hence Jupiter Ammon was represented under the figure of a Ram; Apis under a Cow; Osiris of a Bull; Mercury or Thol of an Ibis; Diana or Babastis of a Cat; and Pan of a Goat. From these sources are derived the fabulous transformation of the gods celebrated in Egyptian Mythology, and afterwards imported into Greece and Italy to serve as the subjects of the Grecian and Roman Pantomimes.

Pantomime as we now know the term, means, not only the Art of acting in dumb show, but also that of a spectacle or Christmas entertainment. (I may add in parenthesis, that in the early part of the last century—the nineteenth—the dictionaries only refer to Pantomime as meaning the former of the above two definitions, and not the latter.)

Pan, regarded as the symbol of the universe, was also the god of flocks, pastures, and shepherds in classic Mythology, and the guardian of bees, hunting and fishing in his Kingdom of Arcadia. His form, like the Satyrs, both supposed to have been the offsprings of Mercury, was that of a man combined with a goat, having horns and feet like the latter animal.

Mimos (Gr.), as I have stated in the beginning, means an "imitator," or a "mimic," and from which word we have the derivation of the words "mimicry," "mimetic," and the like.

Pan was the traditional inventor of the Pandean pipes, and also from his name we derive many words that are in our language, such as "panic" (Pan used to delight in suddenly surprising the shepherds whilst tending their flocks), and the other attributes of this noun, including that recently coined term of the Americans, "panicy."

Pan is said to have been the son of Mercury, or even Mercury himself, and others say that he was the son of Zeus. Mercury and Zeus, it will be remembered in Mythology, were only names for Noah. Pan is unnoticed by Homer.

A heathen deity of Italy, Lupercus, the guardian of their flocks and pastures, has also been identified with Pan, and in whose honour annual rural festivals, known as Lupercalia, were observed.

The Lupercalian festivals were held on the 15th of the Kalends of March. The priests, Luperci, used to dance naked through the streets as part of the ceremonies attached to the festival.

Mention has been made by Dr. Clarke, in his "Travels," Vol. IV., that Harlequin is the god Mercury, with his short sword herpe, or his rod, the caduceus (which has been likened to the sceptre of Judah), to render himself invisible, and to transport himself from one end of the earth to the other, and that the covering on his head, the winged cap, was the petasus. Apropos of this, the following lines in the tenth Ode, of the first book of Horace, will probably occur to the reader:

"Mercury! Atlas' smooth-tongued boy, whose will

First trained to speed our wildest earliest race,

And gave their rough hewn forms with supple skill

The gymnast's grace.

"'Tis thine the unbodied spirits of the blessed,

To guide to bliss, and with thy golden rod To rule the shades; above, below, caressed By every god."

Mercury, as we have seen, was among the Ancients, only another name for Noah. "Indeed," says Dr. Clarke, "some of the representations of Mercury upon ancient vases are actually taken from the scenic exhibitions of the Grecian theatre; and that these exhibitions were also the prototypes whereon D'Hancarville shows Mercury, Momus, and Psyche delineated as we see Harlequin, Columbine, and Clown on our stages. The old man (Pantaloon), is Charon (the ferryman of hell). The Clown is Momus, the buffoon of heaven, the god of raillery and wit, and whose large gaping mouth is in imitation of the ancient masks."

Amongst the Aryans, Medians, Egyptians, Chaldeans, Babylonians, and other nations (including our own, as did not Lilly predict the execution of Charles I., the plague, the great fire of London, and other events) was astrology practised. The Egyptians peopled the constellation of the Zodiac (the first open book for mankind to read), with Genii, and one of the twelve Zodiacal signs was Aries (the Ram). The ram is of the same species as the goat, and the god Pan was the Goat god, as we know. The astrologers, in their divinations and rulings of the planets placed the various parts of the body under a planetary influence. The head and face were assigned to the house of Aries, and therefore the face notably for the Pantomimic Art was placed by the ancient astrologers under the influence of this particular planet.

The heathen worship of Pan was not only known in Arcadia, but also throughout Greece, although it did not reach Athens until after Marathon.

Of Pan's death Plutarch tells the story that in the reign of Tiberius, one Thamus, a pilot, visiting the islands of Paxae, was told of this god's death. When he reached Palodes he told the news, whereupon loud and great lamentations were heard, as of Nature herself expressing her grief. The epoch of the story coincides with the enactment of that grim, and the world's greatest tragedy on the hill of Golgotha, and the end, and the beginning of a new world. Rabelais, Milton, Schiller, and also Mrs. Browning, have allusions to this story of Plutarch's.

The ambitious family of the Titans (the bones of the "giants on the earth" before the Deluge, gave rise to the stories of the Titans found in caves), and their scions and coadjutors Jupiter, Juno, Mars, Mercury, Apollo, Diana, Bacchus, Minerva, or Pallas, Ceres, Proserpine, Pluto, and Neptune furnish by far the greatest part of the Mythology of Greece. Tradition says that they left Phoenicia about the time of Moses to settle in Crete, and from thence they made their way into Greece, which was supposed at that time to be inhabited by a race of savages. The arts and inventions were communicated to the natives, and the blessings of civilization in process of time inspired the inhabitants with admiration. They, therefore, relinquished worshipping the luminary and heavenly bodies, and transferred their devotion to their benefactors. Then into existence sprang the most inconsistent and irreconcilable fictions. The deified mortals, with their foibles and frailities, were transmitted to posterity in the most glorious manner possible, and hence accordingly, in both the Odyssey and the Iliad of Homer, we have a strange and heterogeneous mixture of what is not only mighty in heroes, but also that which is equally mean.

In the Grecian Mythology the labours of Hercules, the expedition of Osiris, the wanderings and transformation of Io, the fable of the conflagration of Phaeton, the rage of Proserpine, the wanderings of Ceres, the Eleusinian Mysteries, the Orgia, or sacred rites of Bacchus, in fine, the ground work of Grecian Mythology is to be traced to the East, from where also all our nursery tales, and also our popular Pantomime subjects; (which is the subject of another chapter) perhaps, with the exception of our own "Robinson Crusoe," originated.

The nine Muses called Pierides in Grecian Mythology were the daughters of Jupiter and Mnemosyne (Memory), supposed to preside over the liberal Arts and the sciences. They were Calliope (Heroic Poetry), Clio Euterpe (Music), Erato (Love Poetry), Melpomene (Tragedy), Polyhymnia (Muse of Singing and Rhetoric), Terpsichore (Dancing), Thalia (Comedy), and Urania (Astronomy). Mount Parnassus, Mount Helicon, and the fountains of Castalia and Aganippe were the sacred places of the Muses.

The Eleusinian Mysteries are of a period that may be likened to the 7th century B.C., and at these Mysteries as many as 30,000 persons, in the time of Herodotus, assembled to witness them. The attributes of these Grecian Mysteries, like those of the Egyptians, consisted of processions, sacrificial offerings, purifications, dances, and all that the Mimetic and the other Arts could convey; add to this the various coloured lights, and the fairy-like grandeur of the whole, we have something that may be likened to the Transformation, and other fairy-like scenes of English Pantomimes and Extravaganzas.

At the Orgia, or sacred rites of Bacchus, the customary sacrifice to be offered, because it fed on vines, was the goat. The vine, ivy, laurel, asphodel, the dolphin, lynx, tiger, and ass were all sacred to Bacchus. The acceptable sacrifice to Venus was a dove; Jupiter, a bull; an ox of five years old, ram or boar pig to Neptune; and Diana, a stag. At the inception of the Bacchanalian festivals in Greece, the tragic song of the Goat, a sacred hymn was sung, and from which rude beginning sprang the Tragedy and Comedy of Greece. The Greeks place every event as happening in their country, and it is not surprising that they claim for themselves the inception of Tragedy and Comedy, which they undoubtedly were the originators of in Greece, but the religious festivals of Dionysus, Osiris, and Bacchus, to which we are supposed to owe the inception of Tragedy and Comedy, were known long before the Greeks knew them. (Dionysus was the patron and protector of theatres.) "The purport of the song was that Bacchus imparted his secret of the cultivation of vines to a petty prince in Attica, named Icarius, who happened one day to espy a goat brouzing upon his plantations, immediately seized, and offered it up as a sacrifice to his divine benefactor; the peasants assembled round their master, assisted in the ceremony, and expressed their joy and gratitude in music, songs, dances, and Pantomime on the occasion; the sacrifice grew into a festival, and the festival into an annual solemnity, attended most probably every year with additional circumstances, when the countrymen flocked together in crowds, and sang in rustic strains the praises of their favourite deity."

Amongst the reported followers of these Bacchanalian festivals were those fabulous race of grotesque sylvan beings, previously referred to, known as the Satyrs. They were of a sturdy frame, in features they had broad snub noses, and appeared in rough skins of animals with large pointed ears, heavy knots on their foreheads, and a small tail. The elder Satyrs were known as Sileni. The younger were more pleasing and not so grotesque or repulsive in appearance as the elder Satyrs. To the Satyrs can be traced the variegated dress of the modern Harlequin, as in ancient Greek history mention is made of the performers enacting Satyrs being sometimes habited in a tiger's skin of various colours, which encircled the performer's body tightly, and who carried a wooden sword, wore a white hat, and a brown mask. According to Servius (as we have seen) Pan had also a bright spotted dress "in likeness of the stars."

From these rustic festivals originated the Satyr, or Satirical Drama, as did its Italian prototype, the Fabulae Atellanae or, Laudi Osci. These rural sacrifices became, in process of time, a solemn fast, and assumed all the pomp and splendour of a religious ceremony; poets were employed by the magistrate to compose hymns, or songs, for the occasion; such was the rudeness and simplicity of the age that their bards contended for a prize, which, as Horace intimates, was scarce worth contending for, being no more than a goat or skin of wine, which was given to the happy poet who acquitted himself best in the task assigned him.

From such small beginnings Tragedy and Comedy took their rise; and like (as the best writers on these subjects tell us) every other production of human art, extremely contemptible; that wide and deep stream, which flows with such strength and rapidity through cultivated Greece, took its rise from a small and inconsiderable fountain, which hides itself in the recesses of antiquity, and is almost buried in oblivion; the name alone remains to give us some light into its original nature, and to inform us, that Tragedy and Comedy, like every other species of poetry, owe their birth to Religion.

Appropriately does Horace observe:—