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.
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.
Valerius Maximus calls Aesopus and Roscius both "ludicrae artis peritissimos viros," but this may merely denote the theatrical art in general,[5] including tragedy as well as comedy.
On one occasion, in particular, having to perform the part of Telamon, banished from his country, in one of Lucius Accius's plays, the tragedian, by his manner and skillful emphasis and an occasional change of a word, added to the evident reality of his feelings, and succeeded in leading the audience to apply the whole to the case of Cicero, and so did him more essential service than any direct defense of himself could have done.
[10] On another occasion, instead of "Brutus qui libertatem civium stabiliverat," he substituted Tullius, and the audience gave utterance to their enthusiasm by encoring the passage "a thousand times".