Differences

This shows you the differences between two versions of the page.

--- home:texts_and_library:dialogues:of-pantomime [2022/01/11 20:58] – [14] frank
+++ home:texts_and_library:dialogues:of-pantomime [2022/01/12 22:33] – [19] frank
@@ Line 119: / Line 119: @@
 >[1] Rulers | In Greek, πρoσρχεσηραs, first dancers. This and other appellations mean nothing more than that the Thesssalians applied terms used in dancing to military affairs, and did this art the honour sometimes to draw allusions from it. But Lucian's business here is to make the most of the matter.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
-### Francklin pp40
 ==== 15 ====
-I need hardly observe that among the ancient mysteries not one is to be found that does not include dancing. Orpheus and Musaeus, the best dancers of their time, were the founders of these rites; and their ordinances show the value they attached to rhythm and dance as elements in religion. To illustrate this point would be to make the ceremonial known to the uninitiated: but so much is matter of common knowledge, that persons who divulge the mysteries are popularly spoken of as ‘dancing them out.’
+I need hardly observe that among the ancient mysteries not one is to be found that does not include dancing. Orpheus and Musaeus, the best dancers of their time, were the founders of these rites; and their ordinances show the value they attached to rhythm and dance as elements in religion. To illustrate this point would be to make the ceremonial known to the uninitiated: but so much is a matter of common knowledge, that persons who divulge the mysteries are popularly spoken of as ‘dancing them out[1].’
+>[1] Dancing them out | Greek, EξoρχeiσΘai. Perhaps this word is etymologically related to the English word //exorcism//. Lucian seems to be saying that religion and the initiation into the mysteries depend on the art of dancing.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
 ==== 16 ====
@@ Line 136: / Line 138: @@
 ==== 19 ====
-Having dealt with India and Ethiopia, let us now consider the neighbouring country of Egypt. If I am not mistaken, the Egyptian Proteus of ancient legend is no other than a dancer, whose mimetic skill enables him to adapt himself to every character: in the activity of his movements, he is liquid as water, rapid as fire; he is the raging lion, the savage panther, the trembling bough; he is what he will. The legend takes these data, and gives them a supernatural turn,— for mimicry substituting metamorphosis. Our modern pantomimes have the same gift, and Proteus himself sometimes appears as the subject of their rapid transformations.
+Having dealt with India and Ethiopia, let us now consider the neighbouring country of Egypt. If I am not mistaken, the Egyptian Proteus of ancient legend is no other than a dancer, whose mimetic skill enables him to adapt himself to every character: in the activity of his movements, he is liquid as water, rapid as fire; he is the raging lion, the savage panther, the trembling bough; he is what he will. The legend takes these data, and gives them a supernatural turn,— for mimicry substituting metamorphosis. Our modern pantomimes have the same gift, and Proteus[1] himself sometimes appears as the subject of their rapid transformations.
+>[1] Proteus | Lucian laughs out loud here. Proteus has been turned into a dancing-master shows that Lucian cannot be in earnest.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
 ==== 20 ====