Clodius Aesopus

Clodius (or Claudius) Aesopus was the most celebrated tragic actor of Ancient Rome in time of Cicero, that is, the 1st century BC, but the dates of his birth and death are not known. His name seems to show that he was a freedman of some member of the Clodian gens.

Cicero was on friendly terms with both him and Roscius, the equally distinguished comic actor, and did not disdain to profit by their instruction. Plutarch mentions it as reported of Aesopus, that, while representing Atreus deliberating how he should revenge himself on Thyestes, the actor forgot himself so far in the heat of action that with his truncheon he struck and killed one of the servants crossing the stage.

Horace and other authors put him on a level with Roscius. Each was preeminent in his own field; Roscius in comedy, being, with respect to action and delivery (pronuntiatio), more rapid; Aesopus in tragedy, being more weighty. Aesopus took great pains to perfect himself in his art by various methods. He diligently studied the exhibition of character in real life; and when any important trial was going on, especially, for example, when Hortensius was to plead, he was constantly in attendance, that he might watch and be able to represent the more truthfully the feelings which were actually displayed on such occasions. He never, it is said, put on the mask for the character he had to perform in, without first looking at it attentively from a distance for some time, that so in performing he might preserve his voice and action in perfect keeping with the appearance he would have. Perhaps this anecdote may confirm the opinion that masks had only lately been introduced in the regular drama at Rome, and were not always used even for leading characters; for, according to Cicero, Aesopus excelled in power of face and fire of expression, which of course would not have been visible if he had performed only with a mask.

From the whole passage in Cicero and from the anecdotes recorded of him, his acting would seem to have been characterised chiefly by strong emphasis and vehemence. On the whole, Cicero calls him summus artifex, and says he was fitted to act a leading part no less in real life than on the stage. It does not appear that he ever performed in comedy. Valerius Maximus calls Aesopus and Roscius both "ludicrae artis peritissimos viros," but this may merely denote the theatrical art in general, including tragedy as well as comedy.Fronto calls him Tragicus Aesopus. From Cicero's remark, however, it would seem that the character of Ajax was rather too tragic for him.

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