n."
Augustus reproved Pylades on one occasion for his quarrels with
Bathyllus. The Mime retorted, "It is well for you that the people are
engrossed by our disputes; their attention is thus diverted from your
actions." A bold retort, but it shows how important these Mimes were.
The banishment of Pylades brought about an insurrection, and the Emperor
had to recall him.

Cassius attributes the disgrace of Pylades to the intrigues of
Bathyllus, Suetonius to his effrontery; for on one occasion, when acting
Hercules, annoyed by the criticism of the spectators, he tore off his
mask, and shouted to them: "Fools, I am acting a madman." They thought
his gestures too extravagant. Another time he shot off arrows amongst
the spectators. Amongst other privileges extended by the Emperor
Augustus to the _Mimis_ was being exempt from magisterial control and
immunity from military serving.

The subjects chosen for the Roman Pantomimes, like those of the Grecian
mysteries, from which they doubtless were borrowed, were of a
Mythological description, and they were of such a nature that the
audience could follow them easily, even if they were not already
previously acquainted with them. Between the Roman Pantomime, and the
Western _ballet d'action_, there is hardly any difference. The Romans
always liked to see their stages well peopled; and to help in the action
of their Pantomimes, a chorus accompanied with music, formed part of the
entertainment. The _Mimis and Mimas_, like the ballet of the present
day, provided the dances in addition to their Pantomimic Art of posing
and posturing.

Mr. Isaac Disraeli, in his work, "Curiosities of Literature," edited by
the late Earl of Beaconsfield, thus distinguishes between the _Mimi_ and
the _Pantomimi_ of the Ancients. The _Mimi_ were an impudent race of
buffoons who excelled in mimicry, and like our domestic fools, were
admitted into convivial parties to entertain the guests. Their powers
enabled them to perform a more extraordinary office; for they appear to
have been introduced into funerals to mimic the person, and even the
language of the deceased. Suetonius describes an _archimimus_
accompanying the funeral of Vespasian. This _archimimus_ performed his
part admirably, not only representing the person, but imitating,
according to custom, _ut est mos_, the manners and language of the
living Emperor. He contrived a happy stroke at the prevailing foible of
Vespasian, when he enquired the cost