persona

persōna, ae, f. [acc. to Gabius Bassus ap. Gell. 5, 7, 1 sq., from per-sŏno, to sound through, with the second syllable lengthened].

• I A mask, esp. that used by players, which covered the whole head, and was varied according to the different characters to be represented (syn. larva), Gell. 5, 7, 1: personam tragicam forte vulpis viderat, Phaedr. 1, 7, 1: personam capiti detrahere, Mart. 3, 43, 4: persona adicitur capiti, Plin. 12, 14, 32, § 59. The masks were usually made of clay: cretea persona, Lucr. 4, 297, cf. Mart. 14, 176, 1. And sometimes of the bark of wood: oraque corticibus sumunt horrenda cavatis, Verg. G. 2, 387: ut tragicus cantor ligno tegit ora cavato, Prud. adv Symm. 2, 646. The opening for the mouth was very large: personae pallentis hiatum formidat infans, Juv. 3, 175: personis uti primus coepit Roscius Gallus praecipuus histrio, quod oculis obversis erat, nec satis decorus in personis nisi parasitus pronunciabat, Diom. p. 486 P. Heads with such masks were used as ornaments for water-spouts, fountains, etc.: Butades figulus primus personas tegularum extremis imbricibus imposuit, quae inter initia prostypa vocavit, Plin. 35, 12, 43, § 152: personae, e quarum rostris aqua salire solet, Dig. 19, 1, 17 fin.: mulier nempe ipsa videtur, non personā loqui, a mask, a masked person, Juv. 3, 96.—
• II Transf., a personage, character, part, represented by an actor: parasiti persona, Ter. Eun. 26 sq.: sub personā militis, Gell. 13, 22, 11: (tragici) nihil ex personā poëtae dixerunt, Vell. 1, 3, 2.—Hence,
• • B Also, transf. beyond the scenic lang., in gen., the part or character which any one sustains in the world (class.): (ego), qui non heroum veteres casus fictosque luctus velim imitari atque adumbrare dicendo, neque actor sim alienae personae, sed auctor meae, Cic. de Or. 2, 47, 194: quam magnum est personam in re publicā tueri principis, id. Phil. 8, 10, 29: personam sustinere, id. Pis. 11, 24: personam, quam mihi tempus et res publica imposuit, imposed upon me, id. Sull. 3, 8; cf.: agenda est persona quam mihi miles imposuit, Vop. Prob. 10, 7; Macr. S. 2, 7, 17: partes lenitatis et misericordiae semper egi libenter: illam vero gravitatis severitatisque personam non appetivi, sed a re publicā mihi impositam sustinui, Cic. Mur. 3, 6: petitoris personam capere, accusatoris deponere, id. Quint. 13, 46: personam suscipere, id. de Or. 1, 37, 169: gravissimam personam sustinere, id. Pis. 29, 71: personam tenere, id. de Or. 3, 14, 54: personam gerere, id. Off. 1, 32, 115: abjectā quaestoriā personā comitisque assumptā, id. Planc. 41, 100: fateantur in Maeandrii personā esse expressam speciem civitatis, id. Fl. 22, 53: id Cicero suā ipsā personā frequentissime praecipit, in his own name, Quint. 10, 5, 2: cetera quae sunt a me in secundo libro de Oratore per Antonii personam disputata, Cic. Fam. 7, 32, 2 B. and K. (dub.; al. ex personā): ex tuā personā enumerare possis, ut, etc., id. Inv. 1, 52, 99: nihil ex personā poëtae disserunt, Vell. 1, 3, 2; 1, 3, 3; so Col. 12, 3, 5; Gell. 10, 22, 1; Lact. Epit. 48, 7: sub personā Paridis, Suet. Dom. 10: so Gell. 10, 22, 24; 13, 22, 11: alienam personam ferre, Liv. 3, 36: non hominibus tantum, sed et rebus persona demenda est et reddenda facies sua, Sen. Ep. 24, 13: hanc personam induisti: agenda est, Sen. Ben. 2, 17, 2.—Hence,
  • • 2A human being who performs any function, plays any part, a person, personage: ut mea persona semper aliquid videretur habere populare, Cic. Att. 8, 11, D, § 7: ecquae pacifica persona desideretur, id. ib. 8, 12, 4: hujus Staleni persona, populo jam nota atque perspecta, id. Clu. 29, 78; id. Fam. 6, 6, 10: induxi senem disputantem, quia nulla videbatur aptior persona, id. Lael. 1, 4: Laelii persona, id. ib. 1, 4: certis personis et aetatibus, to people of a certain standing and of a certain age, Suet. Caes. 43: minoribus quoque et personis et rebus, to persons and things of less importance, id. Tib. 32; id. Aug. 27: nulla distantia personarum, Vulg. Deut. 1, 17: personarum acceptio, ib. 2 Par. 19, 7; cf. id. Gal. 2, 6 al.: ipse suā lege damnatus, cum, substituta filii personā, amplius quingentorum jugerum possideret, Plin. 18, 3, 4, § 17: denique haec fuit altera persona Thebis, sed tamen secunda, ita ut proxima esset Epaminondae, the second chief personage, Nep. Pelop. 4, 3.—
    • • • β So of persons, opp. to things and actions: ut rerum, ut personarum dignitates ferunt, Cic. de Or. 3, 14, 53.—
        • γ Law t. t., a being having legal rights and obligations (including the state, etc.; not including slaves; cf. Sandars ad Just. Inst. introd. § 37; 1, 3 prooem.): omne jus quo utimur, vel ad personas pertinet vel ad res vel ad actiones, Dig. 1, 5, 1; Just. Inst. 1, 3 prooem.—
        • δ A human being in gen., a person (post-Aug. and rare): continuantes unum quodque (praenomen) per trinas personas, Suet. Ner. 1: cum dira et foedior omni Crimine persona est, Juv. 4, 15.—
    • 3 In the grammarians, a person: quom item personarum natura triplex esset, qui loqueretur, ad quem, de quo, Varr. L. L. 8, § 20 Müll.; so id. ib. 9, 24, § 32 et saep.

persōna, ae, f. (von *per-sonāre = *per-zonāre, verkleiden, zu griech. ζώνη, also urspr. die Verkleidung), die Maske, Larve des Schauspielers, die den ganzen Kopf bedeckte und je nach der Verschiedenheit der darzustellenden Charaktere verschieden war, I) eig.: comica, Quint.: tragica, Phaedr.: cretea (weil gew. aus Ton), Lucr.: personā tectum caput, Val. Max.: personae distortis oribus deformes, Varro LL.: personam capiti induere, Fronto, Ggstz. capiti detrahere, Mart.: u. so bl. personam induere, Ggstz. detrahere, Macr.: ut ex persona mihi ardere oculi hominis histrionis viderentur, Cic.: personae pallentis hiatus (weil die Mundöffnung sehr breit), Iuven.: agere eandem personam in triclinio (v. einem Mimen), Macr. sat. 2, 7, 17. – Solcher Larvenkopf aus Terrakotta od. Marmor als Zierat an einem Gebäude, cretea persona, Lucr. 4, 295: russi persona Batavi, Mart. 14, 176. – Ebenso Tierköpfe (bes. Löwenköpfe) als Verzierung an den Vorsprüngen der Dächer, personas tegularum extremis imbricibus imposuit, Plin. 35, 152: an Springbrunnen, personae, e quarum rostris aqua salire solet, Ulp. dig. 19, 1, 17. § 9. – II) meton.: 1) der Charakter, die Rolle, Person, die der Schauspieler darstellt, auctoritas (Würde) personarum, Quint.: p. militis, Ter.: persona de mimo, ein Schauspieler in einem Mimenstücke, ein Komödiant, Cic.: in persona lenonis imitari alqm, Cic. – 2) übtr.: a) die Person, die Rolle, die der Mensch in der Welt spielt, accusatoris, Cic.: hanc personam induisti; agenda est, Sen. de ben. 2, 17, 2: duabus quasi nos a natura indutos personis, Cic.: agenda est persona, quam mihi miles imposuit, Vopisc. Prob. 10, 7: possumus petitoris personam capere, accusatoris deponere, Cic.: abicere quaestoriam personam comitisque sumere, Cic.: tantummodo induit personam philosophi, Cic.: mutare (wechseln) personam, Plin. ep.: u. so histrionis ritu mutatā repente personā, Amm.: Veneris personam subire, Lampr.: illam vero gravitatis severitatisque personam non appetivi, sed a re publica mihi impositam sustinui, Cic.: tantam personam sustinet, Cic.: personam quadruplatoris ferre, Liv.: personam alienam ferre, Liv.: personam sibi accommodare od. suscipere, Cic.: personam imponere alci, Cic.: quam personam gerere velimus, welche R. wir spielen wollen, Cic.: personam civitatis gerere, den Staat repräsentieren, Cic.: personam in re publica tueri principis, seine Stellung im Staate als einer der ersten Männer in demselben bewahren, Cic.: quam personam teneant, welche Person sie vorstellen, Cic. – b) die Person in abstr. = die Persönlichkeit, Individualität, der Charakter, den jmd. in seiner Handlungsweise zeigt, od. der Charakter, die Stellung, der Rang, die Bedeutung, die ihm seine Verhältnisse geben, huius Staleni persona, Cic.: p. mea, tua, nostra, Cic.: p. regis, der König als solcher, Iustin.: altera persona, sed tamen secunda, zweite Hauptperson, Nep.: id, quod quāque personā dignum est, Cic.: personā soceri mei, unter der P. meines Schw., Cic.: u. so per personam Antonii, Cic.; u. nihil ex persona poëtae (unter der Person des D., als D.), sed sub eorum, qui illo tempore fuerunt, disserunt, Vell.: nisi forte tanta persona eris, ut possis iram comminuere, Sen. – certis personis et aetatibus, Leuten von einer bestimmten Stellung und einem bestimmten Alter, Suet.: in multorum personam exorabiles, so daß sie die Person ansahen (προσωποληπτοῦντες), Suet. – c) als gramm. t. t., die Person, tertia, Varro LL., Quint. u.a.

persona [CL as f.; ML also as m.] 1 a character (in drama). b person (in dialogue or literary text). c character or person assumed or represented. d (etym.). a princeps / ‥ / personam Christi sponsali dramate sumens Aldh. VirgV 2141; dramaticon est vel activum in quo ~ae loquentes introducuntur ‥ ut se habent tragoediae et fabulae: drama enim Latine fabula dicitur Bede AM 139; Dissenus [i. e. Dossenus], ~a parasitorum GlC D 307; [mutatio] ~arum GlC D 366; 10‥ (v. 2 drama); ludus super iconia S. Nicolai, ad quem he ~e sunt necessarie: ~a barbari ‥ , ~a iconie, quatuor vel sex latronum ‥ Hil. Ronce. 12 pref.; desiderio videndi ~as quarum officio ‥ transigebatur representatio Mir. J. Bev. C 329.  b Aldh. VirgP 26 (v. frunisci); sub ~a conantis erigere mentem suam ad contemplandum Deum ‥ subditum scripsi opusculum Anselm (Prosl. proem.) I 93.  c post pauca ‥ dicens ex ~a Dei Gildas EB 49; considera quid Salomon in gente tua sapientissimus in ~a Sapientie loquens dixerit Eccl. & Synag. 71; Isaias in ~a malignorum spirituum dicit ad fidelem animam S. Langton Quaest. 365; 1263 tenetur ‥ quilibet stacionarius sue ~e in equo providere (Stat. S. Paul.) Med. Stage I 355; veniant ad ingressum chori due persone nude pedes sub ~is apostolorum Johannis et Petri Ib. II 317.  d persona ‥ dicitur quasi ‘pars una’ ‥ Neckam SS II 1. 8. 2 part played by person in life, position, role. b one who fulfils a role, official, candidate for a position. juvenis optimus, ac regis nomine ac ~a dignissimus Bede HE III 21 p. 169; me non habere ~am standi in judicio quia excommunicatus eram Chr. Evesham 127.  b prae omnibus tribunicae potestatis ~is et procerum magistratibus dignissimum ratus est Aldh. VirgP 48; 1071 ad pastorale officium satis utilis ~a extitit Lanfr. Ep. 2; a1161 non esse a proprio monasterio exeundum pro abbate eligendo dum modo ibi idonea posset inveniri ~a Doc. Theob. 1; inferius illud scaccarium suas habet ~as ratione quidem officiorum a se distinctas Dial. Scac. I 3A; 1556 in casu ‥ sue absentie provideat de aliqua idonea ~a ‥ qui ejus vices ‥ suppleat StatOx 364; s1476 nominacionem ‥ ~e ydonie ‥ ad unam dictarum rectoriarum Reg. Whet. II 163. 3 individual, person (usu. as acting in some capacity); b (w. sb. or personal name in gen. or w. adj.). c (w. sua or sim.) one’s self; d (dist. as secular or religious). e (w. ref. to social rank) personage. f (leg. w. ref. to person involved in legal case) particular individual; g (w. ref. to personal characteristics); h (w. ref. to actual presence of individual). milia parvulorum in ~a unius infantis impius et crudelis mactavit Theod. Laterc. 51; per anadiplum dicitur mutatione ~ae pro ~a, ut patrem pro fratre Comm. Cant. I 127; quod si aliter temptatum fuerit a qualibet ~a CS 97; patefecit ‥ qua discretione singulas quasque audientium instruere ~as ‥ debeant Bede HE II 1 p. 76; 801 dilectis in Christo ~is Luciae et Columbae ‥ salutem Alcuin Ep. 214; 867 alicujus perssonis homo diabolica temeritate instigatus CS 516; communis opinio non esse nisi xiiij, decem ad ecclesias, quattuor ad ~as J. Sal. Ep. 143 (209 p. 322); actionum ‥ divisio ‥ in rem ‥ in ~am Bracton 101b (v. actio 4a); s1309 nec non per indebitam et insolitam peticionem bonorum ~arum certarum disposicionum Ann. Lond. 163; publicus hostis, coram quo non essem de ~a securus Ockham I. & P. 2; 1453 de precio corticum ‥ venditorum diversis ~is Ac. H. Buckingham 19.  b magis ‥ iconisma regale ‥ laudatur quam dispicabilis ~a pictoris veneratur Aldh. VirgP 60; per novem ordines angelorum et omnium sanctorum ~as V. Cuthb. III 6; 1214 loquela illa spectabat ad ~am domini regis SelPlCrown 67; 1258 tangentia ~am episcopi et successorum suorum Cart. Beauchamp 50; 1431 pro attendencia sua circa ~am regis ActPC IV 79; 1579 quatordecim solidos ‥ a parsona ipsius Anne Wattes ‥ ceperunt Pat 1176 m. 36.  c meae contemptibilis ~ae ‥ reminisci dignetur Aldh. VirgP 59; nunc ad ea quae meam proprie attingunt ~am ‥ transibo Osb. Mir. Dunst. 25; 1219 dominus legatus ~am vestram vinculo excommunicacionis innodabit Pat 224; debet virtuose regere ~am suam Plusc. VII 18; 1549 E. ducis Somerseti ‥ gubernationis ~ae nostrae regiae StatOx 341.  d 779 consentientibus religiosis ~is Ch. Roff. 10; 825 ecclesiasticarum vel saecularium ~um [sic] CS 384; 858 cum consensu ‥ divinorum ‥ ~arum (v. divinus 4c); 1136 ecclesiasticarum ~arum (v. ecclesiasticus 2a); c1252 presbiter ‥ vel regularis ~a Conc. Syn. 643 (43); 1314 tam seculares quam regulares ~e ad missas ‥ sunt vocate Rec. Eng. Dom. 109; comitantes honorabilium ~arum, tam spiritualium quam temporalium ‥ comitiva Ps.-Elmh. Hen. V 9.  e necnon ‥ gloriosas illustrium puellarum ~as ‥ praeterire incommodum duxi Aldh. VirgP 46; nemo ‥ debet ‥ ad illum aspicere exceptis gravibus ~is quibus licet pro eum intercedere Lanfr. Const. 174; nobilium honori ~arum ‥ digni habeantur GAS 249; 1164 consilio ~arum regni Const. Clar. 180; auctentice ‥ ~e Dial. Scac. I 7E, etc. (v. authenticus 1e); 1311 quosdam alios qui grosse ~e nuncupantur RGasc IV app. I 20 p. 543; 1413 rex suscepit in salvum conductum ‥ W. D. cum certis ~is generosis usque ad numerum viginti ~arum in comitiva sua RScot 207a..  f plenaria causa septem habet circumstantias ‥ . in ~a quaeritur quis fecerit Alcuin Rhet. 6; ~is quidem has res adtributas putamus, nomen, naturam, victum, fortunam, habitum, affectionem, studia, consilia, facta, casus, orationes Ib. 24; iniqui ‥ sunt et malo digni judices qui de incognitis rebus judicare festinant et ~arum nomina magis quam rerum merita prosecuntur (Quad.) GAS 531; equum judicium est, ubi non ~a set opera considerantur (Leg. Hen. I 33. 7) Ib. 565; 1545 in casibus et ~is a jure permissis Conc. Scot. I cclxv; licet reo excipere tam contra dicta quam contra ~as hujusmodi testium Praxis 216.  g scripsi haec de ~a et operibus viri praefati Bede HE III 17 p. 161; speciose ~e homo W. Malm. GR IV 319; erat ‥ aliquantulum corpulentus, mediocris ~e Ord. Vit. VI 10 p. 126; 1164 quisquis sit in ~a, magnus est in regno Francorum J. Sal. Ep. 134 (136 p. 8); auditis ‥ objectionibus ‥ tam contra electionem ‥ quam in ~am electi M. Par. Maj. III 170; ~a hominis variatur in corpore et dieta Wycl. Ver. III 241; ut statum sive formam istius ‥ non pretereamus, hominis ~a erat decentissima Ciren. II 212.  h si ~am tuam in aliquo videris necessariam ‥ adesto negotiis J. Sal. Ep. 255 (267). 4 (in phr.); a (~a media) intermediary, go-between. b (~a ad ~am) person to person. c (in propria ~a or sim.) in one’s own person, oneself. d (~a secunda, w. ref. to Eve as second created person) woman. e (acceptio ~arum, w. ref. to Rom. ii 11, acceptor ~arum, w. ref. to Act. x 34, accipere ~am w. ref. to Deut. x 17). 1345 ~as medias (v. medius 12); per mediam ~am tractando Plusc. IX 36; 1497 inter quos tanquam media ~a pro bono pacis interfuit ‥ regis et regine Hispanie orator RScot 526b..  b ~a ad ~am G. Hen. V 9 (v. duellum 2c).  c quod si ‥ in propria ~a gerere prohibebatur, hoc ‥ per vicarium faciebat impleri J. Sal. Thom. 11 p. 307; 1264 quod in propria ~a sua accedat ad ‥ tenementa Cl 83; a1350 hanc formam complevisti in ~a tua StatOx 34; s959 ut ‥ in propria ~a Deo servituri perpetuo facerent stationem Ann. Wint. 12.  d washeyl et drinkheyl necnon persona secunda, / hec tria sunt vitia que comitantur eis [sc. Anglis] Nig. SS 1521; placet ut persona secunda / federe perpetuo sit mihi juncta comes Ib. 2436.  e ut ‥ sine acceptione ~arum vera proponat W. Malm. GP I 6; 1167 confido ‥ quod tanti non erit apud vos acceptio ~arum ‥ ut aliquid committatis unde ledatur ecclesia J. Sal. Ep. 221 (229); 1268 ~am hominis accipit (v. accipere 4c); 1290, 1293, etc. (v. 1 acceptor b). 5 (usu in leg. context) human being or corporate body having rights or duties in law. qui quidem dicuntur ‥ nihilominus liberi, quia licet faciant opera servilia, cum non faciunt ea ratione ~arum, sed ratione tenementorum Bracton f. 7; ecclesia catholica ‥ est ~a imaginaria et representata Ockham Pol. III 189; ~a aggregata ‥ ~a simplex Wycl. Sim. 90. 6 (eccl.) beneficed person: a (in cathedral) prebend, canon. b (in parish church) parson, rector; c (as dist. from vicar). 1200 ipse et canonici sunt inde ~e et magister W ‥ est vicarius predicte ecclesie CurR I 298; quatuor sunt igitur ~e principales in ecclesia Sarum: decanus, cantor, cancellarius, thesaurarius Offic. Sal. 1; 1391 presentacio ‥ ~arum ‥ ~is in ecclesia ‥ Ebor’ (v. benefellarius).  b a1157 concessi ‥ ecclesie beate Marie de Porestok et ~e ibidem Deo servienti Ch. Sal. 26; c1168 Thome sacerdoti ejusdem ecclesie ~e Regesta Scot. 117; 1196 quis advocatus ‥ presentavit ~am ultimam ‥ ad ecclesiam de C. CurR I 24; ex more patrie ~am illum episcopo loci presentavit Canon. G. Sempr. f. 40; 1219 juratores dicunt quod ‥ Cecilia nunquam habuit terram illam ‥ set revera quidem perso amicus suus illam ‥ tenuit Eyre Yorks 160; c1223 universi rectores ecclesiarum qui vulgariter dicuntur ~e Conc. Syn. 147; 1291 cognovit se esse latronem ‥ et appellat R. C ‥ de quadam roberia facta apud B. prope C. super ~am ecclesie ejusdem ville SelCCoron 127; in aliquibus locis rectores ecclesiarum vocentur persone Lyndw. 108; 1369 Thomas O., ~a sive precentor ecclesie Beate Marie Suthampton’ Pat 280 m. 3.  c c1178 distributione ‥ bonorum inter ~am et vicarium qui ecclesie deserviret, meo ‥ arbitrio reservata Arnulf Ep. 136; c1180 ~a siquidem vel vicarius monachorum de ecclesia de G. jura episcopalia de ipsa ecclesia reddet Act. Hen. II II 131; de vicariis qui ~is fide et juramento obligati sunt G. Hen. II I 87; 1200 W. cognovit esse vicarius predicte ecclesie et non ~am CurR I 325; 1204 ~as et vicarios instituere (Lit. Papae) Chr. Evesham 133; 1229 salva ‥ domino regi sextadecima de vicariis et ~is suis ecclesiarum predictarum Cl 171; 1254 recepimus tunc decimas omnium clericorum nostrorum tam vicariorum quam ~arum Val. Norw. 524. 7 person (of the Trinity); b (w. ref. to the personality of Christ). quia tres ~as et tres subsistentias [v. l. substantias] unam cognuscitur [v. l. cognoscitur] esse Deitatem adque [v. l. atque] essentiam Theod. Laterc. 22; p675 sanctae Trinitatis unam essentiam ‥ et trinam ~arum subsistentiam ‥ confiteor Aldh. Ep. 4 p. 485; 680 unum Deum in tribus subsistentiis vel ~is consubstantialibus (Conc.) Bede HE IV 15 p. 239; ut ‥ ~arum trinitas monstraretur, ter sanctus dicitur Ps.-Bede Collect. 291; a802 credo in ‥ Deum ‥ trinum ~is, unum subsistentia (Professio) CS 298; Christus, Filius Dei vivi, tertia Trinitatis divine ~a (V. S. Paterni 1) VSB 252; tres sunt ~e cum sit Deus unus et idem Nig. Laur. 1599; tanquam inter se deliberantes ~e aierunt “faciamus hominem” Eul. Hist. I 11.  b Melchisedech ‥ pro sanctitate conversationis redemptoris tipice ~am praefigurans Aldh. VirgP 54; postquam divina potestas / Christi personam junxit clementer in unam / qui Deus est ac verus homo Wulf. Swith. I 1379; quod Filius Dei in ~am suam assumpsit de Virgine Anselm (Orig. Pecc. 8) II 149. 8 (gram.) person (in declension of noun and pronoun and in conjugation of verb); b (in legal or diplomatic context). verba ‥ primae conjugationis ‥ conveniunt in secunda ~a numero singulari indicativo et imperativo modo ut ‘amas’, ‘ama’ Aldh. PR 115; ~e verborum sunt tres: prima, quae dicit, ut doceo; secundo, cui dicitur, ut doces; tertia, de qua dicitur, ut docet Bonif. AG 499; prima ~a dicitur quia maxima est et absoluta cognicio, secunda ‥ quia non est nisi quando prima ad ipsam et de ipsa sermocinatur, tercia vero dicitur quia per primam et secundam est Ps.-Gros. Gram. 43; in verbo personali semper duo intelliguntur; ~a verbi et res verbi, ut in hoc verbo ‘lego’ intelligitur ~a verbi, sc. ‘ego’ et res verbi, sc. ‘lectio’ Vinsauf AV II 2. 47 p. 280; oracio gramatica aut sit mediante verbo prime ~e vel secunde vel tercie Bacon XV 1.  b 1225 sicut ‥ in litteris directis ‥ Simoni, mutata tamen tercia ~a in secundam Pat 535; 1262 ponit breve istud totum in prima ~a AncC 7/143; 1342 nec in prima ~a sub nomine judicis ‥ sed in tertia ~a in actis redigant verum factum Conc. II 691b.. 9 (as surname) Person, Parson. 1251 Alicia Hasting, Muriell ~a (RChart) EHR XVII 290; 1288 R. ~a habet quandam mensuram cervisie falsam et non sigillatam Leet Norw. 14.

persōna, (9) æ, f. , ¶ 1 masque de lʼacteur, cf. Gell. 5, 7, 1 ; ex persona ardent oculi histrionis Cic. de Or. 2, 193, les yeux de lʼacteur lancent des flammes à travers le masque ¶ 2 rôle, caractère [dans une pièce de théâtre] : parasiti Ter. Eun. 26, le rôle du parasite ; persona de mimo Cic. Phil. 2, 65, personnage de mime ¶ 3 [fig.] rôle, caractère, personnage : personam tenere Cic. de Or. 3, 54 ; tueri Cic. Phil. 8, 29, jouer, tenir un rôle ; gravitatis severitatisque personam sustinere Cic. Mur. 6, se charger dʼun rôle de rigueur et de sévérité ; alicui personam vehementem imponere Cic. Sulla 8, imposer à qqn un rôle violent ; gravissimam personam sustinere Cic. Pis. 71, soutenir un personnage des plus graves ; petitoris personam capere Cic. Quinct. 45, prendre le rôle de demandeur ; civitatis personam gerere Cic. Off. 1, 124, représenter, incarner la cité ¶ 4 caractère, individualité, personnalité : persona, quæ proprie singulis est tributa Cic. Off. 1, 107, la personnalité impartie en propre à chacun de nous ; personæ et eorum qui dicunt et eorum qui audiunt Cic. Or. 71, le caractère aussi bien des orateurs que des auditeurs ; sine personis atque temporibus de universo genere quæritur Cic. de Or. 2, 134, on sʼoccupe dʼune thèse générale sans détermination de personnes et de circonstances ; vides quæ sit persona dicentis Cic. Att. 15, 1 a, 2, tu vois le personnage qui parle, la personne de lʼorateur ¶ 5 [gramm.] personne : Varro L. 8, 20, etc.

persona , ae. f.
鬼臉。位。事業。身。躬。戯子。外皮。— primarum partium 初戯子。— tragica 戴鬼臉之戯。Pacifica persona 温和之人。Personam ju dicis sustinere 當判官。Principis personam tueri vel sustinere 存王位。Imponere ei calumniae personam 以人為妄告者。Personae. plur. 物上刻之像。

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persōna ae, f

• per+SON-, a mask, false face(usu. of clay or bark, covering the head; worn by actors): tragica, Ph.: pallens, Iu.: mulier videtur, Non persona loqui, i. e. no man disguised, Iu.—An assumed character, part: parasiti, T.: potestatis, affectation, Ta.—A part, character: aliena: personam in re p. tueri principis: persona, quam mihi tempus et res p. imposuit: petitoris personam capere: gravissimam personam sustinere: in Maeandri personā esse expressam speciem civitatis.—A person, personage, character: ut mea persona semper aliquid videretur habere populare: induxi senem disputantem, quia nulla videbatur aptior persona: Laeli: altera, sed secunda, second chief personage, N.: ut rerum, ut personarum dignitates ferunt: foedior omni Crimine persona est, the character you have to describe, Iu.

PERSONA

PERSO´NA(larva, πρόσωπονor προσωπεῖον), a mask. Masks were worn by Greek and Roman actors in nearly all dramatic representations. This custom arose undoubtedly from the practice of smearing the face with certain juices (Hor. ad Pis. 277) and colours, and of appearing in disguise, at the festivals of Dionysus [DIONYSIA]. The red colouring was appropriate to that worship (Paus. 2.2, 6; 7.26-Z2, 11). But leaves were also used as coverings for the face before masks (Suidas, s. v. θρίαμβος: cf. Athen. 14.622); and we hear, too, of masks made of tree-bark (Verg. G. 2.387). Now, as the Greek drama arose out of these festivals, it is highly probable that some mode of disguising the face was as old as the drama itself. Thespis (Suidas, s. v. Θέσπις is said to have smeared the face with white lead (ψιμυθιῷ), afterwards with purslane (ἀνδράχνῃ); and finally to have introduced the linen mask. Choerilus of Samos, however, is said to have been the first who introduced regular masks (Suid. s. v. Χοιρίλος). The invention of masks is elsewhere attributed to Aeschylus (Suid. s. v. Αἴσχυλος: Hor. ad Pis. 278), though the latter had probably only the merit of perfecting and completing the whole theatrical apparatus and costume. Phrynichus is said to have first introduced female masks (Suid. s. v. Φρύνιχος). Aristotle (Poët. 5=1449 b, 4) was unable to discover who had first introduced the use of masks in comedy. Some masks covered, like the masks of modern times, only the face, but they appear more generally to have covered the whole head like a visor, fastened with bands under the chin, for we find always the hair belonging to a mask described as being a part of it; and this must have been the case in tragedy more especially, as it was necessary to make the head correspond to the stature of an actor which was heightened by the cothurnus. The terms for having a mask put on are περιτίθεσθαι, ἐπικεῖσθαι, περικεῖσθαι: for putting off, ἀποτίθεσθαι, ἀφελεῖν (Lucian. Tim. 28, Nigr. 11, de Salt. 27, pro Mere. Cond. 5, Icaromenipp. 29). The masks were made by σκευοποιοί. Aristotle (Poet. 6=1450 b, 19) notices how important their art was for the stage effect.

I. TRAGIC MASKS.

It may at first seem strange to us, that the ancients, with their refined taste in the perception of the beautiful in form and expression, should by the use of masks have deprived the spectators in their theatres of the possibility of observing the various expressions of which the human face is capable, and which with us contribute so much to theatrical illusion. But it must be remembered that in the large theatres of the ancients it would have been impossible for the greater part of the audience to distinguish the natural features of an actor. The features of the masks were for this same reason very strong and marked. Again, the dramatis personae of most of the ancient tragedies were heroes or gods, and their characters were so well known to the spectators, that they were perfectly typical. Every one therefore knew, immediately on the appearance of such a character on the stage, who it was, and it would have been difficult for a Greek audience to imagine that a god or hero should have had a face like that of an ordinary actor. The use of the cothurnus also rendered a proportionate enlargement of the countenance absolutely necessary, or else the figure of an actor would have been ridiculously disproportionate. Lastly, the solemn character of ancient tragedy did not admit of such a variety of expressions of the countenance as modern tragedies; the object of which seems to be to exhibit the whole range of human passions in all their wild and self-devouring play. How widely different are the characters of ancient tragedy! It is, as Miiller (Hist. of the Lit. of Anc. Greece, 1. p. 298) justly remarks, perfectly possible to imagine, for example, the Orestes of Aeschylus, the Ajax of Sophocles, or the Medea of Euripides, throughout the whole tragedy with the same countenance, though it would be difficult to assert the same of a character in any modern drama. But there is no necessity for supposing that the actors appeared throughout a whole piece with the same countenance; for if circumstances required it, they might surely change masks during the intervals between the acts of a piece. Whether the open or half-open mouth of a tragic mask also contributed to raise the voice of the actor, as Gellius (Gell. 5.7) thinks, cannot be decided here, though we know that all circumstances united to compel a tragic actor to acquire a loud and sonorous voice. The κωφὰ πρόσωπα appear to have had masks (Lucian, Toxar. 9; de hist. conscr. 4), also the chorus in Comedy (Schol. on Ar. Nub. 344; Theophr. Char. 6), and most probably the chorus in Tragedy, both because it was likely that all the performers should be fairly uniform in appearance, and also we are told that the Eumnenides in Aeschylus's play had masks with snakes in their hair (Paus. 1.28, 6). Yet in certain illustrations, such as in Baumeister's Denkmäler, fig. 910, the κωφὰ πρόσωπα appear without masks.

The masks used in ancient tragedies were thus, for the most part, typical of certain characters, and consequently differed according to the age, sex, rank, and other peculiarities of the beings who were represented. Pollux, from whom we derive most of our information on this subject, enumerates (4.133, &c.) 28 typical or standing masks of tragedy: six for old men, eight for young men, eleven for females, and three for slaves. The number of masks was indefinite, which were not typical, but represented certain individuals with their personal peculiarities, such as the horned Actaeon, the blind Thamyris with one eye black and the other grey, the myriadeyed Argus, Tyro with cheeks all bruised from the blows of Sidero; the representations of River and Mountain Gods, Centaurs, Titans, Giants, Indians, Tritons, the Minotaur, &c.; and such allegorical figures as Justice, Death, Madness, Drunkenness, Deceit, &c. See Pollux, iv. 141, 142, who mentions many more such ἔκσκευα πρόσωπα, as they were called. The only example of an ἔκσκευον πρόσωπον which we possess is from a very beautiful wall-painting from Pompeii, reproduced in Baumeister's Denekmäler, fig. 1947, p. 1851. It is Perseus with his Cap of Darkness and its griffin crest. The standing masks of tragedy are divided by Pollux (4.133-140) into five classes.

1. Tragic masks for old men(133-135).--The mask for the oldest man on the stage was called ξυρίας ἀνήρ, from the circumstance of the beard being smoothly shaved. The hair, which was in most cases attached to the masks, was white, and hung down with the exception of a part above the forehead, which was raised by a projection on the mask. This projection rose either into an acute angle (λαβδοειδὲς is the word Pollux uses), or was rounded at the top. It was called ὄγκος. The size of it varied chiefly according to the social position of the person represented. The chin of this mask was close shaved, the cheeks flat and hanging downwards. This would be the mask worn by Cadmus, and perhaps Priam (Suidas, s. v. πριαμωθῆναι). 2. A second mask for old men, called λευκὸς ἀνήρ, had grey hair, floating around the head in locks, the beard fixed to the mask and immovable (γένειον πεπηγός). It had drooping eyes and a palish colour (παράλευκος). This was perhaps the mask Tiresias would wear or the παιδαγωγὸς in Sophocles' Electra (43). 3. A third mask, called σπαρτοπόλιος, had black hair interspersed with grey, and was somewhat pale. It probably represented a hero of from 40 to 50 years, perhaps the mask of Oedipus (cf. Soph. O. T. 742 f.). 4. The fourth mask, μέλας ἀνήρ, represented a hero in his full vigour, with dark curly hair and beard, strong features and a high ὄγκος. This was probably the mask for most of the tragic heroes who were not very much advanced in age. 5, 6. For a secondary class of heroes there were two other masks, the ξανθὸς and the ξανθότερος ἀνήρ: the former represented a fair man with floating locks, a low ὄγκος, and a good colour in his countenance; the second or fairer man was pale and of a sickly appearance.

2. Tragic masks for young men(135-137).--Among these are mentioned: 1. The νεανίσκος πάγχρηστος, a mask intended to represent a man who had just entered the age of manhood, and was yet unbearded, but of a blooming and brownish complexion, and with a rich head of black hair. This is the mask to be given to such a character as Achilles in the Iphigenia in Aulis. The word πάγχρηστος, all-excellent, is used possibly for the virtuous hero of the piece. 2. The νεανίσκος οὖλος, a fair youth of a haughty character; his hair was curly and attached to a high ὄγκος: his character was indicated by his raised eyebrows. A specimen of the οὖλος νεανίσκος is given above from a statue of Melpomene (Mus. Borb. xi. Tav. xlii.). 3. Νεανίσκος πάρουλος: resembled the preceding mask, but was somewhat younger. The counterpart of these two was (4) the ἁπαλός, a young man of a delicate and white complexion, with fair locks and a cheerful countenance, like that of a youthful god. 5, 6. Πιναρός. There were two masks of this name, both representing young men of a severe appearance, of yellow complexion and fair hair, gloomy and squalid (κατηφής, δυσπινής); the one, however, was thinner and younger. 7. Ὠχρός, a mask quite pale, with hollow cheeks and fair floating hair. It was used to represent sick or wounded persons. 8. The πάρωχρος might be used for the πάγχρηστος if this character was to be represented in a suffering condition or in love.

3. Tragic masks for male slaves.--Pollux (137, 138) mentions three--viz.: 1. The διφθερίας, leather jerkined, which had no ὄγκος, but some sort of a covering (περίκρανον) round the smoothly-combed white hair. The countenance was pale, the beard grey, the nose sharp, the eyebrows raised, and the expression of the eyes gloomy. Perhaps like the θεράπων in the Bacchae. 2. The σφηνοπώγων, wedge-like-bearded, represented a man in the prime of life with a high and broad forehead, a large ὄγκος, broad and rounded inwards at the top (κοιλαινόμενον ἐν τῇ περιφορᾷ), hard-featured and red like a messenger. 3. The ἀνάσιμος, or snubnosed, had a high ὄγκος (ὑπέρογκος) with fair hair rising up on it; had a reddish face and no beard. He, too, acted as a messenger.

4. Tragic masks for female slaves(139).--Of these five specimens are given. 1. Πολιὰ κατάκομος (i. e. with long grey hair), originally called παράχρωμος (with altered colour). It represented an old woman with long grey hair, a small ὄγκος, pale and dignified to indicate one who had seen better days. 2. Tb Τὸ ἐλεύθερον γραΐιον, an old freed-woman with fair hair turning grey, hanging over a small ὄγκος down to the shoulders. She was apparently in mourning. 3. Tb Τὸ οἰκετικὸν γραΐδιον had a covering for the head of sheep-skin instead of an ὄγκος; was very wrinkled. 4. Tb Τὸ οἰκετικὸν μεσόκουρον ( with a tonsure, like that of monks) had a small ὄγκος, white skin, rather pallid; was not quite grey-haired. 5. Διφθερῖτις represented a young slave-girl without any ὄγκος.

5. Tragic masks for free women(140, 141).--Of these seven specimens are given. 1. Κατάκομος ὠχρὰ represented a pale lady with long black hair and a sad expression. She generally shared the sufferings of the principal hero in the play. On the next column is an example taken from Baumeister, op. cit. fig. 1945, p. 1849. 2. Μεσόκουρος ὠχρὰ resembled the former, only that she had a tonsure and was pale, as well acquainted with sorrow. 3. Μεσόκουρος πρόσφατος probably represented one who was just new to some great sorrow. Hence it had the tonsure for mourning, but not the paleness of 2. 4. Κούριμος παρθένος had no ὄγκος, but hair smoothly combed down on each side of the head with a little cut off in front (καὶ βραχέα ἐν κύκλῳ περικέκαρται). This was the mask of Antigone and Electra (see Brunck, Analect. 1.500). 5. Ἕτερα κούριμος παρθένος, like the other, except that her hair was floating about as if she was in the most violent grief. 6. The κόρη, or beautiful young girl, e. g. a daughter of Danaus.

The account which Pollux gives of the tragic masks comprehends a great number, but it is small in comparison with the great variety of masks which the Greeks must have used in their various tragedies; for the distorted masks with widely open mouths, which are seen in great numbers among the paintings of Herculaneum and Pompeii (see the annexed woodcut from Museo Borbon. vol. i. tab. 20), would give but a very inadequate notion of the masks used at Athens during the most flourishing period of the arts. All the representations of tragic masks belonging to this period do not show the slightest trace of exaggeration or distortion in the features of the countenance, and the mouth is not opened wider than would be necessary to enable a person to pronounce such sounds as oh or ha. In later times, however, distortions and exaggerations were carried to a very great

Masks, Tragic and Comic, from Pompeii.

extent, but more particularly in comic masks, so that they in some degree were more caricatures than representations of ideal or real countenances (Philostr. Vit. Apollon. 5.9, p. 89, Kayser; Lucian, de Saltat. 27, Anach. 23, Nigrin. 11).

The annexed woodcut represents some masks, one apparently comic and the other tragic, which are placed at the feet of the choragus in the celebrated mosaic found at Pompeii (Museo Borbon. vol. ii. tab. 56; Gell, Pomp. vol. i. pl. 45). The ὄγκος is fairly well represented.

II. COMIC MASKS.

In the Old Attic Comedy, in which living and distinguished persons were so often brought upon the stage, it was necessary that the masks, though to some extent they may have been caricatures, should in the main points be faithful portraits of the individuals whom they were intended to represent, as otherwise the object of the comic poets could not have been attained (Platon. de Diff. Com. p. 14.5.80, Dübner; Aristoph. Eq. 230, and Schol.). We know that no σκευοποιὸς ventured to make Cleon's mask; Aelian (Ael. VH 2.13) says that the mask of Socrates in the Clouds was a faithful representation. Of course, the chorus of Birds and Clouds and such like had peculiar masks of their own, as also such out-of-the-way characters as Pseudartabas in the Acharnians. The masks of the characters in the Old Attic Comedy were therefore, on the whole, faithful to life, and free from the burlesque exaggerations which we see in the masks of later times. A change was made in the comic masks when it was forbidden to represent in comedy the archon by imitating his person upon the stage (Schol. ad Aristoph. Nub. 31); and still more, shortly after, by the extension of this law to all Athenian citizens (Schol. ad Aristoph. Ach. 1150, Av. 1297; Suid. s. v. Ἀντίμαχος). The consequence of such laws was, that the masks henceforth, instead of individuals, represented classes of men, i. e. they were masks typical of men of certain professions or trades, of a particular age or station in life, and some were grotesque caricatures. A number of standing characters or masks was thus introduced in comedy. In the New Comedy they were very ridiculous and unnatural looking, with enormously wide and distorted mouths (Platon. de Diff. Com. p. 14.83-91), at least for the characters representing the lower orders and old men. Platonius says the reason was fear of caricaturing any influential Macedonian. Pollux gives a list of such standing masks, which are divided, like those of tragedy, into five classes.

1. Comic masks for old men(143-145).--Nine masks of this class are mentioned. The mask representing the oldest man was called πάππος πρῶτος: his head was shaved to the skin, he had a mild expression about his eyebrows, his beard was thick, his cheeks hollow, and his eyes melancholy. His complexion was pale, and the whole expression of the countenance was mild. 2. The πάππος ἕτερος was of a more emaciated and more vehement appearance, sad and pale; he had hair on his head and a beard, but the hair was red and his ears broken from boxing. 3. The ἡγεμὼν πρεσβύτης, likewise an old man, with a thin crown of hair round his head, an aquiline nose, and a flat countenance. His right eyebrow was higher than the left. (Cf. Quintil. 11.3, 74: alter erecto alter composito est supercilio; atque id ostendere maxime latus actoribus moris est quod cum iis quas agunt partibus congruat.) An example of the ἡγεμὼν πρεσβύτης is given below from Müller, fig. 21.1 = Baumeister, fig. 905 a. 4. The πρεσβύτης μακροπώγων had a long and floating beard, and likewise a crown of hair round his head; his eyebrows were raised, but his whole aspect was that of a dull man. 5. The Ἑρμώνειος was that of a man getting bald (ἀναφαλαντίας, different from φαλακρός, actually bald, Bekk. Anecd. 16, 31), but it had a beard and raised eyebrows and was of a grim appearance. The name of the mask was derived either from an actor or a σκευοποιός, as was also that called Λυκομήδειος, No. 7. 6. The σφηνοπώγων, or wedge-like bearded mask, was likewise bald, had raised eyebrows, and looked rather ill-tempered (ὑποδύστροπος). 7. The Λυκομήδειος (cf. No. 5) had a thick long beard and had one eyebrow raised, as if absorbed in business. 8. The πορνοβοσκὸς was somewhat like the latter, but his lips were contorted to a grin, his eyebrows contracted, and his head either bald or getting bald. 9. The δεύτερος Ἑρμώνειος had a pointed beard, but otherwise no hair.

The annexed comic mask, representing an old man, is taken from the Museo Borbon. vol. i. tab. A.

2. Comic masks for young men(146-148).--Pollux enumerates eleven masks of this kind. 1. The πάγχρηστος formed the transition from the old to the young men; he had but few wrinkles on his forehead, showed a muscular constitution (γυμναστικός), was rather red in the face, and slightly sun-burnt (ὑποκεχρωσμένος); the upper part of his head was bald, his hair was red, and his eyebrows raised. 2. The νεανίσκος μέλας was younger than the preceding one, and with low eyebrows. He represented a young man of good education and fond of gymnastic exercises. 3. The νεανίσκος οὖλος, or the thick-haired young man, was young and handsome, and of a blooming countenance, his eyebrows were extended, and there was only one wrinkle upon his forehead. 4. The νεανίσκος ἁπαλός: his hair was like that of the πάγχρηστος, but he was the youngest of all, and represented a tender and effeminate youth. 5. The ἄγροικος, or rustic young man, had a dark complexion, broad lips, a pug-nose, and a crown of hair round his head. 6. The ἐπίσειστος στρατιώτης was of dark complexion, and had long dark hair waving about. This would be the mask of the Miles Gloriosus. 7. The ἐπίσειστος δεύτερος was the same as the preceding, only younger and of a fair complexion. 8. The κόλαξ or the flatterer, and 9. the παράσιτος or parasite, were dark (compare Athen. 6. p. 237), and had aquiline noses. Both presented a luxurious and well-fed appearance (εὐπαθεῖς); the parasite, however, had broken ears, was merry-looking, and had a wicked expression about his eyebrows. 10. The εἰκονικός (i. e. like a statue) had a few grey hairs spread over his head, a close-shaved chin: the wearer was got up in splendid attire (εὐπάρυφος) and represented a stranger. He could also act a kind of parasite. Böttiger thinks we should read Σικυωνικός. 11. The Σικελικὸς was a third kind of parasite.

3. Comic masks for male slaves(149, 150).--Of this class seven masks are mentioned. 1. The mask representing a very old man was called πάππος: it had grey hair, and indicated that he had obtained his liberty. 2. The ἡγεμὼν θεράπων had his red hair plaited, raised eyebrows, and a contracted forehead. He was among slaves the same character as the πρεσβύτης among freemen. 3. The κάτω τριχίας, or κάτω τετριχωμένος, was half bald-headed, had red hair and raised eyebrows. 4. The οὖλος θεράπων, or the thick-haired slave, had red hair and a red countenance; he was without eyebrows, half-bald, and with squinting eyes. 5. The θεράπων Μαίσων was bald-headed and had red hair. Μαίσων was a character in a farce, like Maccus in the Atellanae, though Athenaeus (14.659) and Festus (s. v. Moeson) say he was an actor. 6. The θεράπων τέττιξ was bald-headed and dark, but had two or three slips of hair on his head and on his chin, and he also had squinting eyes. Why he was called τέττιξ is not plain. Athenaeus (l. c.) says, ἐκάλουν οἱ παλαιοὶ τὸν μὲν πολιτικὸν μάγειρον Μαίσωνα, τὸν δ'ἐκτόπιον Τέττιγα. 7. The ἐπίσειστος ἡγεμών, or the audacious slave, resembled the ἡγεμὼν θεράπων with the exception of the hair.

4. Comic masks for old women(150, 151).--Pollux mentions three, viz.: 1. The γραΐδιον ἰσχνὸν or λυκαίνιον, the wolfish old woman, who was tall with many but small wrinkles, pale, and with squinting eyes. 2. The παχεῖα γραῦς, or the old woman with large wrinkles, and a band round her head keeping the hair together. 3. The γραΐδιον οἰκουρόν, or the domestic old woman. Her cheeks were hollow, and she had only two teeth on each side of her mouth.

5. Comic masks for young women(152-154).--Pollux mentions fourteen, viz.: 1. The γυνὴ λεκτική, or the talking woman; her hair was smoothly combed down, the eyebrows rather raised, and the complexion white. 2. The γυνὴ οὔλη was distinguished from the preceding only by the way she wore her hair. 3. The κόρη had her hair combed smoothly, had high and black eyebrows, and a white complexion. 4. The ψευδοκόρη had a whiter complexion than the former, her hair was bound up on the top of the head, and she was intended to represent a young woman who had been lately married. 5. Another mask of the same name was only distinguished from the former by the fact that the hair was not divided (τῷ ἀδιακρίτῳ τῆς κόμης). 6. The σπαρτοπόλιος λεκτική, an elderly woman who had once been a prostitute, and whose hair was partly grey. 7. The παλλακὴ resembled the former, but had a better head of hair (περίκομος). 8. The τέλειον ἑταιρικὸν was more red in the face than the ψευδοκόρη, and had locks about her ears. 9. The ὡραῖον ἑταιρίδιον was less got up (ἀκαλλώπιστον), and wore a band fastened round her head. 10. The διάχρυσος ἑταίρα derived the name from the gold with which her hair was adorned. 11. The διάμιτρος ἑταίρα, from the variegated band wound around her head. 12. The λαμπάδιον, from the circumstance of her hair being dressed in such a manner that it stood upright upon the head in the form of a lampas. 13. The ἁβρὰ περίκουρος represented a young female slave with her hair cut round (περικεκαρμένον), wearing only a white tucked--up chiton. 14. The παράψηστον (with straight hair) was that of a slave distinguished by her hair, and by a somewhat snub-nose: she wore a crocus-coloured chiton and represented an hetaera's servant.

It will be seen from the foregoing list that the chief points of distinction in the masks lay in the colour of the face, in the colour and arrangement of the hair, in the size of the ὄγκος, and in the eyebrows. It is to be noticed that the iris as well as the whites of the eyes must have been represented in the mask, as e. g. the διφθερίας (1.3, 1) is said to have had ὀφθαλμοὺς σκυθρωπούς, the πάππος πρῶτος (2.1, 1) to have been τὴν ὄψιν κατηφής, the γραΐδιον ἰσχνὸν (2.4, 1) to have had squinting eyes, &c. Also it is to be noticed that the teeth are very rarely found in masks, and only once mentioned in Pollux's list (the γραΐδιον οἰκουρόν, 2.4, 3).

Numerous as these masks are, the list cannot by any means be considered as complete, for we know that there were other standing masks for persons following particular kinds of trade, which are not mentioned in Pollux. Maeson of Megara, for example, is said to have invented a peculiar mask called after his own name μαίσων, another for a slave, and a third to represent a cook (Athen. 14. p. 659). Compare Lucian, Salt. 27, for reference to special masks for cooks. These were a most prominent class in the New Comedy. From Athenaeus (l. c.) we also learn that Stephanus of Byzantium wrote a work περὶ προσώπων.

III. Masks used in the Satyric Drama (141).

The masks used in this species of the Greek drama were intended to represent Satyrs,

Silenus, and similar companions of Dionysus, whence the expressions of the countenances and the form of their heads may easily be imagined. The other characters wore the ordinary tragic masks. Pollux only mentions the grey-headed Satyr, the bearded Satyr, the unbearded Satyr, and the Σειληνὸς πάππος. The latter (who perhaps occurs in the Cyclops) represented an old man, probably bald (Eur. Cycl. 227), rather like a brute (θηριωδέστερον). There appear to have been more than one kind of Silenus (Xen. Symp. 4, 19). All the Satyric characters appear to have had the ordinary snub-nose and pointed ears of Satyrs. The dress of the Silenus was called χορταῖος (Poll. 4.118). A grotesque mask of a Satyr, together with one of the finest specimens of a tragic mask, is contained in the Townley Gallery in the British Museum, and is represented here. Another Satyric mask, probably that of the Silenus, is also reproduced from Müller, fig. 20, i. = Baumeister. fig. 1630.

As regards the earliest representations of the regular drama among the Romans, it is expressly stated by Diomedes (1.489, 10 Keil), that masks were not used, but merely the galerus or wig, so that the colour of the hair alone indicated in a way who the character was, according as it was white (for the old), black (for the young), or red (for slaves). In the time of Terence there appear to have been no masks used [cf. such a scene as Ter. Phorm. 1.4, 32 ff., and the numerous passages in which a remark is said to be made voltu laeto or moesto (e.g. Andr. 3.3, 20) given by Hoffer, de personarum usu in Terentii Comoediis, 23-30, cf. 34]; and it was not till about 110 B.C. that Roscius, as he was not good-looking and had a squint, and his manager Minucius Prothymus, introduced them into tragedy. One Cincius Faliscus is said to have introduced them into comedy (Diomed. l. c.; Donat. de Com. et Trag. p. 10, 1, Reiff.); it. was some time, however, before they met with approval (Cic. de Orat. 3.59, 221). Aesopus sometimes acted without a mask (Cic. de Div. 1.3. 7, 80). It should, however, be remembered that masks had been used long before that time in the Atellanae (Fest. s. v. Personata), so that the innovation of Roscius must have been confined to the regular drama; that is, to tragedy and comedy. As for the forms of Roman masks, it may be presumed that, being introduced from Greece at so late a period, they had the same defects as those used in Greece at the time when the arts were in their decline, and this supposition is confirmed by all works of art, and the paintings of Herculaneum and Pompeii, in which masks are represented; for the masks appear unnaturally distorted and the mouth always wide open. The expressions of Roman writers also support this supposition. (Gellius (Gell. 5.7; Juven. 3.175.) We may mention here that some of the oldest MSS. of Terence contain representations of Roman masks, and from these MSS. they have been copied in several modern editions of that poet, as in the edition published at Urbino in 1726, fol., and in that of Dacier. The cut annexed contains representations of four of these masks prefixed to the Andria.

When actors at Rome displeased their audience and were hissed, they were obliged to take off their masks; but those who acted in the Atellanae were not obliged to do so (Fest. s. v. Personata fabula; Macrob. Sat. 2.7). The Roman mimes never wore masks. [MIMUS] (Compare Ficoroni, Dissertatio de Larvis scenicis et Figuris comicis ant. Rom., Rome 1786 and 1750, 4to; Fr. Stieve, Dissertatio de rei scenicae apud Romanos Origine; Witzschel in Pauly, 5.1373-1380, s. v. Persona; F. Wieseler, Theatergebäude und Denkmäler des Bühnenwesens; Sommerbrodt, Scaenica, pp. 199-205; A. Müller, Die Griechischen Bühnenalterthümer, 270-289; Bernard Arnold in Baumeister's Denkmäler, s. vv. Lustspiel, Satyrspiel, Schauspieler und Schauspielkunst, and Trauerspiel.)

[L.S] [L.C.P]

Persōna

(πρόσωπον and προσωπεῖον). A mask; an artificial covering for the face worn among many peoples in all ages of history and for different purposes, but more frequently in Greece and Italy (1) for covering the faces of the dead and

(2) by actors in theatrical performances.

Death-masks of gold have been found in tombs at Mycenae and elsewhere; at Carthage masks of clay were also similarly used. In Egypt they were placed upon the case containing the mummy. See also imagines.

For theatrical purposes, masks were made of linen, of bark, of leather, and sometimes of wood. Their introduction in dramatic performances is ascribed to Choerilus (q.v.) of Samos about B.C. 500, and to Aeschylus (q.v.); but their use really goes back to the mummery in honour of Dionysus, at whose festivals in early Greece the face was painted with the lees of wine or covered with leaves. The opening for the eyes was not larger than the pupil of the actor's eyes behind the mask. The masks themselves sometimes merely covered the face, like masks in modern times; but sometimes, also, they covered the whole head down to the shoulders. The wig worn by the tragic actors was usually if not always a part of the mask. Phrynichus is said by Suidas (s. v.) to have first made comic masks. The varieties of masks were very numerous, representing every possible sort of character, age, sex, and condition. Pollux (iv. 133, etc.) enumerates twenty-eight typical kinds of mask, six for old men, eight for young men, eleven for women, and three for slaves. Gellius thinks that the mouth of the mask was arranged so as to intensify the sound of the actor's voice (v. 7); but this is doubtful.

At Rome masks were not used in early times, but only wigs. They were probably first introduced in B.C. 110 by Roscius, who was homely and had a squint. When the audiences hissed an actor he was obliged to remove his mask, except when acting in the Atellanae fabulae (Macrob. Sat. ii. 7).

See the articles drama and satyrica fabula.