Lucian De saltatione 81

[81] In general, the dancer should be perfect in every point, so as to be wholly rhythmical, graceful, symmetrical, consistent, unexceptionable, impeccable, not wanting in any way, blent of the highest qualities, keen in his ideas, profound in his culture, and above all, human in his sentiments. In fact, the praise that he gets from the spectators will be consummate when each of those who behold him recognises his own traits, or rather sees in the dancer as in a mirror his very self, with his customary feelings and actions. Then people cannot contain themselves for pleasure, and with one accord they burst into applause, each seeing the reflection of his own soul and recognising himself. Really, that Delphic monition “Know thyself” realises itself in them from the spectacle, and when they go away from the theatre they have learned what they should choose and what avoid, and have been taught what they did not know before.

[81] The fact is, the pantomime must be completely armed at every point. His work must be one harmonious whole, perfect in balance and proportion, self-consistent, proof against the most minute criticism; there must be no flaws, everything must be of the best; brilliant conception, profound learning, above all human sympathy. When every one of the spectators identifies himself with the scene enacted, when each sees in the pantomime as in a mirror the reflection of his own conduct and feelings, then, and not till then, is his success complete. But let him reach that point, and the enthusiasm of the spectators becomes uncontrollable, every man pouring out his whole soul in admiration of the portraiture that reveals him to himself. Such a spectacle is no less than a fulfilment of the oracular injunction know thyself; men depart from it with increased knowledge; they have learnt something that is to be sought after, something that should be eschewed.