Abstract

In lieu of an abstract, here is a brief excerpt of the content:Impersonating the Dead:Mimes at Roman FuneralsGeoffrey S. SumiRoman aristocratic and imperial funerals often had a theatrical quality to them. We are told of the presence of musicians and dancing satyrs as part of the procession (pompa) and the excessive, even feigned grief, on the part of mourners, some of whom were professionals.1 Most striking of all was the performance of an actor (a "funerary mime") who donned a mask that portrayed the likeness of the deceased and wore clothing that represented the highest offices and honors that the deceased had achieved. While dressed in this manner, the actor impersonated the deceased, imitating, and sometimes mocking, his well-known physical characteristics and movements and his words.2 To our modern sensibilities such a custom might seem odd, but a recent commentator on Roman aristocratic funerals has pointed out how the tone of a single funeral celebration ranged from "the patriotic and somber, to sad, to joyous and festive."3 The performance of this funerary mime, in which the dead momentarily came back to life in vivid form, apparently could reflect the full range of emotions on display at a Roman funeral. Despite recent studies on the Roman funeral, we still lack an analysis of the funerary mime that draws together all of the ancient evidence. Such an [End Page 559] analysis can shed light, as I hope to show, not only on the nature of the actor's performance, but also on what this performance might mean for our understanding of Roman funerals, both under the Republic and the Empire. Further light can be shed on the custom of the funerary mime by using Bakhtin's model of carnival as a way of demonstrating how in Rome certain carnivalesque elements could be interwoven into otherwise serious and even somber public events.4The first source that describes the practice of the funerary mime most explicitly is a passage of Diodorus, quoted by Photius, which is taken from his discussion of the funeral of L. Aemilius Paullus, the famous conqueror of Perseus who died in 160 B.C.:(Diod. 31.25.2)5Those Romans who by reason of noble birth and the fame of their ancestors are pre-eminent are, when they die, portrayed in figures that are not only lifelike as to features but show their whole bodily appearance. For they employ actors who through a man's whole life have carefully observed his carriage and the several peculiarities of his appearance. In like fashion each of the dead man's ancestors takes his place in the funeral procession, with such robes and insignia as enable the spectators to distinguish from the portrayal how far each had advanced in the cursus honorum and had had a part in the dignities of the state.(Loeb trans.)In this passage, Diodorus describes not only the use of masks to portray the facial features of the deceased, but also the employment of [End Page 560] actors () to play the role of the deceased at the funeral. The word can simply mean "imitator" in general terms, one who pretends to be someone or something else, but it can be used specifically of actors.6 Diodorus goes on to explain that this, during the lifetime of the deceased, observed the gait or carriage () of the deceased and "the several peculiarities of his appearance" (). The result of this "lifetime" of observation was that the actor could perform these traits faithfully at his subject's funeral. The translation of as "the several peculiarities of his appearance" renders into English the ambiguities of the Greek without making clear precisely what is meant. By this phrase, Diodorus must mean gestures or other physical movements, since it should refer to something, such as gait or carriage with which it is paired, that actors could observe, imitate, and then perform for a large audience. By the same token, it is unlikely that this phrase refers either to distinguishing physical characteristics, such as facial features or expressions, since these would have been depicted by the mask itself, or, for that matter, to physical blemishes of the body, such as scars, which would have been concealed by the dress...