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In Nero's fourth consulship with Cornelius Cossus for his colleague, a theatrical entertainment to be repeated every five years was established at Rome in imitation of the Greek festival. Like all novelties, it was variously canvassed. There were some who declared that even Cnius Pompeius was censured by the older men of the day for having set up a fixed and permanent theatre. "Formerly," they said, "the games were usually exhibited with hastily erected tiers of benches and a temporary stage, and the people stood to witness them, that they might not, by having the chance of sitting down, spend a succession of entire days in idleness. Let the ancient character of these shows be retained, whenever the prætors exhibited them, and let no citizen be under the necessity of competing. As it was, the morality of their fathers, which had by degrees been forgotten, was utterly subverted by the introduction of a lax tone, so that all which could suffer or produce corruption was to be seen at Rome, and a degeneracy bred by foreign tastes was infecting the youth who devoted themselves to athletic sports, to idle loungings and low intrigues, with the encouragement of the emperor and Senate, who not only granted licence to vice, but even applied a compulsion to drive Roman nobles into disgracing themselves on the stage, under the pretence of being orators and poets. What remained for them but to strip themselves naked, put on the boxing-glove, and practise such battles instead of the arms of legitimate warfare? Would justice be promoted, or would they serve on the knights' commissions for the honourable office of a judge, because they had listened with critical sagacity to effeminate strains of music and sweet voices? Night too was given up to infamy, so that virtue had not a moment left to her, but all the vilest of that promiscuous throng dared to do in the darkness anything they had lusted for in the day."