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--- home:texts_and_library:dialogues:of-pantomime [2022/01/10 22:10] – [8] frank
+++ home:texts_and_library:dialogues:of-pantomime [2022/01/12 22:44] (current) – [22] frank
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 The first step, we learn, was taken by Rhea[1], who was so pleased with the art that she introduced it among the Corybantes in Phrygia and the Curetes in Crete. She was richly rewarded: for by their dancing they saved her child Zeus, who owes it to them (nor can he with decency deny it) that he escaped the paternal teeth. The dancing was performed in full armour; sword clashed against shield[2], and inspired heels beat martial time upon the ground. The art was presently taken up by the leading men in Crete, who by dint of practice became admirable dancers; and this applies not only to private persons, but to men of the first eminence, and of royal blood. Thus Homer, when he calls Meriones a dancer, is not disparaging him, but paying him a compliment: his dancing fame, it seems, had spread not only throughout the Greek world, but even into the camp of his enemies, the Trojans, who would observe, no doubt, on the field of battle that agility and grace of movement which he had acquired as a dancer. The passage runs as follows:
-Meriones, great dancer though thou be, My spear had stopped thy dancings,—
+//Meriones, great dancer though thou be, \\
+My spear had stopped thy dancings,—//[3]
 it did not, however, do so; his practice in that art enabling him, apparently, to evade without difficulty any spears that might be hurled at him.
 > [1] Rhea, et al | To understand the force and taste the ridicule of this passage, it is necessary information for anyone reading about the Greek myth of Rhea, or Cybele, to know the following. When she was pregnant with the child of Zeus by Cronos, so that her husband should not destroy the infant as soon as born, retired to Crete, when, after being delivered, she gave her little Zeus to the care of her friends, or priests, the Curetes and Corybantes, made a loud noise with their lances, shields, and bucklers to make sure Cronos might not hear the child cry. Lucian takes this opportunity of laughing at the whole story and tells us that it is therefore from dancing alone that we are indebted to the preservation of the father of gods and men.((Tooke, W., et al. Lucian of Samosata. from the Greek with the Comments and Illustrations of Wieland and Others by William Tooke. London: Longman, Hurst, Rees, Orme, and Brown, 1820.))
-> [2] Sword clashed against shield | The dance represented a battle, and therefore in fact was the same or analogous to the //colabriemus// of the Thracians or the //caryatica// of the Spartans.((Tooke, W., et al. Lucian of Samosata. from the Greek with the Comments and Illustrations of Wieland and Others by William Tooke. London: Longman, Hurst, Rees, Orme, and Brown, 1820.))
+> [2] Sword clashed against shield | The dance represented a battle, and therefore in fact was the same or analogous to the //colabriemus// of the Thracians or the //caryatica// (a form of dance which is taught in the Lacedaemonian town of Caryae) of the Spartans.((Tooke, W., et al. Lucian of Samosata. from the Greek with the Comments and Illustrations of Wieland and Others by William Tooke. London: Longman, Hurst, Rees, Orme, and Brown, 1820.))
+> [3] Meriones ... | From Iliad ca. 16.615 - Aeneas waxed wroth at heart, and spake, saying: “Meriones, full soon, for all thou art a nimble dancer, would my spear have made thee to cease dancing for ever, had I but struck thee.”((Homer. The Iliad with an English Translation by A.T. Murray, Ph.D. in two volumes. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1924.))
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-I could mention a number of other heroes who went through a similar course of training, and made a serious study of dancing: but I will confine myself to the case of Neoptolemus, the son of Achilles, and a most eminent dancer. He it was who invented that beautiful dance called after him the Pyrrhic; a circumstance which may be supposed to have afforded more gratification to his father than his comeliness, or his prowess in other respects. Thus Troy, impregnable till then, falls a victim to the dancer’s skill[1], and is levelled with the dust.
+I could mention a number of other heroes who went through a similar course of training, and made a serious study of dancing: but I will confine myself to the case of Neoptolemus, the son of Achilles, and a most eminent dancer. He it was who invented that beautiful dance called after him the Pyrrhic[1]; a circumstance which may be supposed to have afforded more gratification to his father than his comeliness, or his prowess in other respects. Thus Troy, impregnable till then, falls a victim to the dancer’s skill[2], and is levelled with the dust.
-> [1] dancer's skill | Reminds Francklin of a burlesque song, where Alexander:\\
+> [1] A common weaponed dance amongst the Greeks, particularly the Spartans, but regarding the invention of it, opinions are much debated.((Tooke, W., et al. Lucian of Samosata. from the Greek with the Comments and Illustrations of Wieland and Others by William Tooke. London: Longman, Hurst, Rees, Orme, and Brown, 1820.))
+> [2] dancer's skill | Reminds Francklin of a burlesque song, where Alexander:\\
 //Drank about the council-board,\\
 And subdued the world by drinking,\\
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-You have read your Homer; so that I need say nothing of the Shield of Achilles, with its choral dance, modelled on that which Daedalus designed for Ariadne; nor of the two dancers (‘tumblers,’ he calls them) there represented as leading the dance; nor again of the ‘whirling dance of youth,’ so beautifully wrought thereon by Hephaestus. As to the Phaeacians, living as they did in the lap of luxury, nothing is more natural than that //they// should have rejoiced in the dance. Odysseus, we find, is particularly struck with this: he gazes with admiration on the ‘twinkling of their feet.’
+You have read your Homer; so that I need say nothing of the Shield of Achilles, with its choral dance, modelled on that which Daedalus designed for Ariadne[1]; nor of the two dancers (‘tumblers,’[2] he calls them) there represented as leading the dance; nor again of the ‘whirling dance of youth,’ so beautifully wrought thereon by Hephaestus. As to the Phaeacians, living as they did in the lap of luxury, nothing is more natural than that //they// should have rejoiced in the dance. Odysseus, we find, is particularly struck with this: he gazes with admiration on the ‘twinkling of their feet.’
+>[1] Ariadne | As in Pope's Odyssey: //A figured dance succeeds; such once was seen, in lofty Knossus, for the Cretan queen, formed by Daedalian art; a comely band of youths and maidens, bounding hand in hand, now forth at once, too swift for fight they spring, and, undistinguished, blend the flying ring (Book 18)//. Modern Greek dance is performed in a similar manner: the youths and maids dance in a ring, beginning slowly, by degrees the music plays a quicker time, until at last they dance witht he utmost swiftness, and towards conclusion, sing in a general chorus.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
+>[2] Tumblers | Those who dance on their heads.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
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-In Thessaly, again, dancing was such a prominent feature, that their rulers and generals were called ‘Dancers-in-chief,’ as may be seen from the inscriptions on the statues of their great men: ‘Elected Prime Dancer,’ we read; and again: ‘This statue was erected at the public expense to commemorate Ilation’s well-danced victory.’
+In Thessaly, again, dancing was such a prominent feature, that their rulers[1] and generals were called ‘Dancers-in-chief,’ as may be seen from the inscriptions on the statues of their great men: ‘Elected Prime Dancer,’ we read; and again: ‘This statue was erected at the public expense to commemorate Ilation’s well-danced victory.’
+>[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.))
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-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.))
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-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.))
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-Our attention is next claimed by the Roman dance of the Salii, a priesthood drawn from the noblest families; the dance is performed in honour of Mars, the most warlike of the Gods, and is of a particularly solemn and sacred character. According to a Bithynian legend, which agrees well with this Italian institution, Priapus, a war-like divinity (probably one of the Titans, or of the Idaean Dactyls, whose profession it was to teach the use of arms), was entrusted by Hera with the care of her son Ares, who even in childhood was remarkable for his courage and ferocity. Priapus would not put weapons into his hands till he had turned him out a perfect dancer; and he was rewarded by Hera with a tenth part of all Ares’s spoils.
+Our attention is next claimed by the Roman dance of the Salii[1], a priesthood drawn from the noblest families; the dance is performed in honour of Mars, the most warlike of the Gods, and is of a particularly solemn and sacred character. According to a Bithynian legend, which agrees well with this Italian institution, Priapus, a war-like divinity (probably one of the Titans, or of the Idaean Dactyls[2], whose profession it was to teach the use of arms), was entrusted by Hera with the care of her son Ares, who even in childhood was remarkable for his courage and ferocity. Priapus would not put weapons into his hands till he had turned him out a perfect dancer; and he was rewarded by Hera with a tenth part of all Ares’s spoils.
+>[1] Salii | The Salii were Roman priests, and so called from Latin for dance, //salio//. First appointed by Numa, their office was to celebrate the rites of Mars with songs and dances. They were clothed in a short scarlet cassock, having round the a broad belt, clasped with brass buckles, on their heads they wore a sort of copper helmet, short swords by their sides, a javelin in their right hand, and the ancele (target) on the other. They were twelve in number and always chosen from the patrician class.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
+>[2] Idaean Dactyls | Priests of Cybele, who was worshipped on Mount Ida, called dactyli, from the word for finger, in allusion to their number. In the beginning there were ten of them.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
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-As to the rites of Dionysus, you know, without my telling you, that they consisted in dancing from beginning to end. Of the three main types of dance, the cordax, the sicinnis, and the emmelia, each was the invention and bore the name of one of the Satyrs, his followers. Assisted by this art, and accompanied by these revellers, he conquered Tyrrhenians, Indians, Lydians, dancing those warlike tribes into submission.
+As to the rites of Dionysus, you know, without my telling you, that they consisted in dancing from beginning to end. Of the three main types of dance, the cordax[1], the sicinnis[2], and the emmelia[3], each was the invention and bore the name of one of the Satyrs, his followers. Assisted by this art, and accompanied by these revellers, he conquered Tyrrhenians, Indians, Lydians, dancing those warlike tribes into submission.
+>[1] Cordax | This was a joyful, brisk dance accompanied sometimes, we are told, with wanton gestures, and this type of dance belonged properly to comedy. The Bacchanalian dances were of thie kind.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
+>[2] Sicynnis | This was a satirical dance, wherein the grave and brisk are intermixed.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
+>[3] Emmeleia | This was a grave and solemn dance.((Select Dialogues: Of Lucian, Translated from the Greek by Thomas Franklin, D.D. The Sungraphein, by G. W. Vernon, Esq. William M’Kenzie, 1792.))
+Franklin pp42
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