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According to the story, this was precisely the experience of the Cynic Demetrius. He had inveighed against Pantomime in just your own terms. The pantomime, he said, was a mere appendage to flute and pipe and beating feet; he added nothing to the action; his gesticulations were aimless nonsense; there was no meaning in them; people were hoodwinked by the silken robes and handsome mask, by the fluting and piping and the fine voices, which served to set off what in itself was nothing. The leading pantomime of the day—this was in Nero’s reign—was apparently a man of no mean intelligence; unsurpassed, in fact, in wideness of range and in grace of execution. Nothing, I think, could be more reasonable than the request he made of Demetrius, which was, to reserve his decision till he had witnessed his performance, which he undertook to go through without the assistance of flute or song. He was as good as his word. The time-beaters, the flutes, even the chorus, were ordered to preserve a strict silence; and the pantomime, left to his own resources, represented the loves of Ares and Aphrodite, the tell-tale Sun, the craft of Hephaestus, his capture of the two lovers in the net, the surrounding Gods, each in his turn, the blushes of Aphrodite, the embarrassment of Ares, his entreaties,—in fact the whole story. Demetrius was ravished at the spectacle; nor could there be higher praise than that with which he rewarded the performer. ‘Man,’ he shrieked at the top of his voice, ‘this is not seeing, but hearing and seeing, both: ’tis as if your hands were tongues!?
