There was in the land of Greece an actor of wide reputation, who excelled all others in his clear delivery and graceful action. They say that his name was Polus, and he often acted the tragedies of famous poets with intelligence and dignity. This Polus lost by death a son whom he dearly loved. After he felt that he had indulged his grief sufficiently, he returned to the practice of his profession.
At that time he was to act the Electra of Sophocles at Athens, and it was his part to carry an urn which was supposed to contain the ashes of Orestes. The plot of the play requires that Electra, who is represented as carrying her brother's remains, should lament and bewail the fate that she believed had overtaken him. Accordingly, Polus, clad in the mourning garb of Electra, took from the tomb the ashes and urn of his son, embraced them as if they were those of Orestes, and filled the whole place, not with the appearance and imitation of sorrow, but with genuine grief and unfeigned lamentation. Therefore, while it seemed that a play was being acted, it was in fact real grief that was being enacted.
Aulo Gélio, Noites Áticas 6.5
Loeb Classical Library, Cambridge MA, HUP: 1920-25 (trad.: Rolfe).
achado em Mark Ringer (1998), Electra and The Empty Urn. Chapel Hill & Londres: University of North Carolina Press.
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