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Tiresias: The Ancient Mediterranean Religions Source Database

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Full texts for Hebrew Bible and rabbinic texts is kindly supplied by Sefaria; for Greek and Latin texts, by Perseus Scaife, for the Quran, by Tanzil.net

For a list of book indices included, see here.

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All subjects (including unvalidated):
subject book bibliographic info
dance Clay and Vergados (2022), Teaching through Images: Imagery in Greco-Roman Didactic Poetry, 67
Gaifman (2012), Aniconism in Greek Antiquity, 146, 254, 255, 256, 282
Horkey (2019), Cosmos in the Ancient World, 17, 137, 162, 190, 191, 195, 196, 198, 199, 200, 202, 203, 206, 207, 208, 210
Lightfoot (2021), Wonder and the Marvellous from Homer to the Hellenistic World, 34, 89, 177
Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 8, 12, 154, 224, 373, 374
Peels (2016), Hosios: A Semantic Study of Greek Piety, 87, 91, 177, 236
Ramelli (2013), The Christian Doctrine of Apokatastasis: A Critical Assessment from the New Testament to Eriugena, 235, 366, 396, 397, 405
Rubenstein(1995), The History of Sukkot in the Second Temple and Rabbinic Periods, 54, 132, 134, 135, 145, 148, 151, 288, 313, 316, 319
Stavrianopoulou (2006), Ritual and Communication in the Graeco-Roman World, 102, 162
de Bakker, van den Berg, and Klooster (2022), Emotions and Narrative in Ancient Literature and Beyond, 173, 174, 175
de Jáuregui (2010), Orphism and Christianity in Late Antiquity, 14, 245, 270, 317, 320, 330, 358, 396
dance, ancient, reconstructed, reenacted Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 258, 259, 270, 271, 272, 273, 274, 275, 276, 277, 278, 284, 285, 286, 287, 288, 289, 334, 335, 336, 337, 338, 339, 340, 341, 342, 343, 344, 345
dance, and dionysus Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 404
dance, and eroticism Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 67, 75, 76, 77, 201, 202, 203, 204, 251, 285, 286, 287, 288, 289
dance, and the chorus Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 713
dance, aristophanes Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 56
dance, as medium of communication Stavrianopoulou (2006), Ritual and Communication in the Graeco-Roman World, 64
dance, as mnemonic device Stavrianopoulou (2006), Ritual and Communication in the Graeco-Roman World, 54, 55
dance, at the thesmophoria, in aristophanes, and thesm. Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 54
dance, athenaeus, on spartans and Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 107
dance, audience Stavrianopoulou (2006), Ritual and Communication in the Graeco-Roman World, 64
dance, bacchic Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 65, 91, 148, 149, 193, 198, 289
dance, choral Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 381, 384, 385, 388, 389, 390, 391, 392
dance, choreography Stavrianopoulou (2006), Ritual and Communication in the Graeco-Roman World, 54, 55
dance, cinaedic Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 49, 124, 240, 241, 301
dance, competitive Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 158, 239
dance, concept-driven Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 258, 259
dance, cosmic Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 390
Wilson (2010), Philo of Alexandria: On Virtues: Introduction, Translation, and Commentary, 188
dance, dancing, Bernabe et al. (2013), Redefining Dionysos, 7, 16, 17, 33, 46, 47, 48, 49, 53, 60, 107, 112, 120, 285, 286, 310, 311, 338, 366, 381, 418, 423, 456, 481, 543, 544
dance, dancing, choral, Bernabe et al. (2013), Redefining Dionysos, 240, 241, 381
dance, depictions of Stavrianopoulou (2006), Ritual and Communication in the Graeco-Roman World, 49
dance, ecstatic Luck (2006), Arcana mundi: magic and the occult in the Greek and Roman worlds: a collection of ancient texts, 7
dance, emotion, and Nuno et al. (2021), SENSORIVM: The Senses in Roman Polytheism, 8
dance, erotic Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 154, 155, 156, 157, 206, 207, 208
dance, evidence Stavrianopoulou (2006), Ritual and Communication in the Graeco-Roman World, 43, 44, 45, 65
dance, geranos Stavrianopoulou (2006), Ritual and Communication in the Graeco-Roman World, 49
dance, hagnos, of Petrovic and Petrovic (2016), Inner Purity and Pollution in Greek Religion, 240
dance, in drama, cyrene Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 206, 207, 209, 210, 211, 212, 213, 214, 215, 219, 220, 229, 230, 231, 236, 237, 238, 239, 240, 241, 342
dance, ionic Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 11, 239, 240
dance, kosmos, and Horkey (2019), Cosmos in the Ancient World, 200
dance, language Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 13
dance, literature, scenarios/programmes, contemporary Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 336
dance, lucian, on Greensmith (2021), The Resurrection of Homer in Imperial Greek Epic: Quintus Smyrnaeus' Posthomerica and the Poetics of Impersonation, 53, 54
dance, lucian, writer, , on Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 112
dance, mimetic Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 6, 7, 8, 9, 59, 72, 73
dance, non-representational / pure Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 41, 86, 87
dance, notation of Stavrianopoulou (2006), Ritual and Communication in the Graeco-Roman World, 44
dance, orkhosis, see palladion, theft of Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 71
dance, paian Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 216
dance, performers Stavrianopoulou (2006), Ritual and Communication in the Graeco-Roman World, 54
dance, plutarch, on pyladic Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 209
dance, popular Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 355, 381
dance, propitiousness of gods, through Mikalson (2010), Greek Popular Religion in Greek Philosophy, 41, 84, 85
dance, purification, in Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 281, 282, 283, 335, 351
dance, ritual Stavrianopoulou (2006), Ritual and Communication in the Graeco-Roman World, 166
dance, rituals, young womens rituals, in statius achilleid Panoussi(2019), Brides, Mourners, Bacchae: Women's Rituals in Roman Literature, 209, 214, 215, 216
dance, rooster, cf. cockfight, fighting cock, rooster Riess (2012), Performing interpersonal violence: court, curse, and comedy in fourth-century BCE Athens, 60, 115, 123
dance, round / circular Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 44, 45, 50, 93, 95, 96, 97, 100, 165, 171
dance, scholars/scholarship, ancient and byzantine, on tragedy, on tragic, frr. Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 333
dance, sikinnis Seaford (2018), Tragedy, Ritual and Money in Ancient Greece: Selected Essays, 150
dance, song and Gera (2014), Judith, 161, 229, 335, 443, 445, 446, 447, 448
dance, songs and music, choral Eidinow and Kindt (2015), The Oxford Handbook of Ancient Greek Religion, 85
dance, sophocles’ talent in Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 9, 10, 11
dance, spirit, effects of song and Frey and Levison (2014), The Holy Spirit, Inspiration, and the Cultures of Antiquity Multidisciplinary Perspectives, 160
dance, teacher / choreographer, ancient Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 77, 130, 197
dance, teacher / choreographer, chorodidaskalos Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 40, 41
dance, teacher / choreographer, modern, 20th century Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 286, 288, 335, 342
dance, teacher / choreographer, modern, enlightenment Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 238, 246, 247, 248, 249, 250, 251, 252, 253, 254, 255, 260, 270, 271
dance, tradition Stavrianopoulou (2006), Ritual and Communication in the Graeco-Roman World, 55
dance, tribute, to athens, blurring of religious and monetary in choral Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 88, 89, 90, 91, 92, 93, 94, 102, 110, 111, 112, 113, 114, 115, 116, 117, 118
dance, vase paintings, depicting Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 55, 56, 57, 58, 59
dance, women, and Stavrianopoulou (2006), Ritual and Communication in the Graeco-Roman World, 49
dance/dancers Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 57, 58, 59, 60
dance/dancers, and nonelite private parties Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 232
dance/dancers, christian martyr feasts Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 335, 336, 337, 338
dance/dancers, erotic male, cinaedus Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 206, 207, 208
dance/dancers, hellenistic Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 104, 105, 106, 107, 108, 109
dance/dancers, nonelite women at festivals Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 263
dance/dancers, roman era Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 186
dance/dancers, sexual exploitation of Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 154, 155, 156, 157
dance/dancers, spanish Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 199
dance/dancers, therapeutae Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 276, 277
danced, action Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 40, 72, 73, 84, 131, 133, 165, 173, 174, 241, 259, 263, 264, 275, 276, 277, 278
danced, in the dithyramb, social change Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 168, 169, 170, 385
dances Mikalson (2010), Greek Popular Religion in Greek Philosophy, 80, 88, 89, 92, 138
dances, and charis of gods Mikalson (2010), Greek Popular Religion in Greek Philosophy, 179
dances, and dionysus Mikalson (2010), Greek Popular Religion in Greek Philosophy, 90
dances, and war Mikalson (2010), Greek Popular Religion in Greek Philosophy, 88, 89
dances, bacchic Faraone (1999), Ancient Greek Love Magic, 62
dances, honouring the gods Mikalson (2010), Greek Popular Religion in Greek Philosophy, 56, 89, 153, 164, 165, 184
dances, in athens Mikalson (2010), Greek Popular Religion in Greek Philosophy, 88, 89
dances, in magnesia Mikalson (2010), Greek Popular Religion in Greek Philosophy, 80, 84, 86, 87, 104, 134
dances, making gods propitious Mikalson (2010), Greek Popular Religion in Greek Philosophy, 41, 84, 85
dances, of spartans Mikalson (2010), Greek Popular Religion in Greek Philosophy, 88
dances, war, success in and Mikalson (2010), Greek Popular Religion in Greek Philosophy, 88, 89
dances, xenophon, martial Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 11
dancing Berglund Crostini and Kelhoffer (2022), Why We Sing: Music, Word, and Liturgy in Early Christianity, 177, 187, 188, 196, 334, 521, 525
Boeghold (2022), When a Gesture Was Expected: A Selection of Examples from Archaic and Classical Greek Literature. 13, 18, 51
Romana Berno (2023), Roman Luxuria: A Literary and Cultural History, 30, 31, 32, 33, 45, 90, 91, 95, 144, 189, 190, 232
Tanaseanu-Döbler and von Alvensleben (2020), Athens II: Athens in Late Antiquity, 5, 63, 193, 337, 348
Zawanowska and Wilk (2022), The Character of David in Judaism, Christianity and Islam: Warrior, Poet, Prophet and King, 325, 326, 382, 519
dancing, actors Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 40, 41, 129, 130, 131, 263, 264, 265, 267, 268, 269, 270, 271, 272, 273, 278, 279
dancing, and singing, music and musicality Taylor and Hay (2020), Philo of Alexandria: On the Contemplative Life: Introduction, Translation and Commentary, 322, 323, 328, 329, 333, 343
dancing, at parties, plutarch, aristocratic singing and Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 185, 186, 187
dancing, at philip ii’s parties, theopompus of chios, on agathocles Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 127
dancing, at roman-era symposia, boys Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 186
dancing, bes-figures Griffiths (1975), The Isis-Book (Metamorphoses, Book XI), 182, 331
dancing, cicero, on Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 175
dancing, david, his Zawanowska and Wilk (2022), The Character of David in Judaism, Christianity and Islam: Warrior, Poet, Prophet and King, 325, 528, 530, 563, 574, 575, 576, 577, 578, 581
dancing, ecstatic, frenzied, dance, maenadic, orgiastic Bernabe et al. (2013), Redefining Dionysos, 9, 11, 14, 16, 60, 101, 104, 109, 110, 114, 115, 125, 127, 131, 139, 141, 162, 166, 167, 170, 174, 175, 177, 189, 193, 194, 195, 196, 197, 273, 275, 278, 279, 280, 282, 289, 290, 291, 292, 318, 460, 535, 536, 543, 544
dancing, ephebes Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 55, 56, 57, 58, 59
dancing, faun, pompeii, house of the Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 279
dancing, hellenistic period Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 104, 105, 106, 107, 108, 109
dancing, hetairai Brule (2003), Women of Ancient Greece, 190
dancing, in cult, singing and Mackey (2022), Belief and Cult: Rethinking Roman Religion, 287
dancing, in sabbath and the therapeutae, music, singing and Taylor and Hay (2020), Philo of Alexandria: On the Contemplative Life: Introduction, Translation and Commentary, 321, 322, 323, 324, 329, 331, 332, 335, 336, 340, 344, 345, 348
dancing, in sacred herd, proitids, from roaming to in woods to Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 278, 281, 282, 283
dancing, lucian of samosata, on Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 183, 184, 185, 186, 187, 188, 189, 190, 191, 192, 193, 194, 195, 196, 197, 198, 199, 200, 201, 202, 203, 204, 205, 206, 207, 208
dancing, monarchs, singing and Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 59, 60, 61, 107, 108, 109
dancing, to, gods Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 54
dancing, women Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 54, 55
dancing, xenophon Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 58, 59, 156, 345
dancing, zeus Bremmer (2008), Greek Religion and Culture, the Bible, and the Ancient Near East, 87
dancing/music, martial Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 55, 56, 57, 58, 59
dancing/music, roman era, martial Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 186, 255
dancing/music, spartans, martial Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 84

List of validated texts:
38 validated results for "dance"
1. Hebrew Bible, 1 Samuel, 18.7 (8th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • David, his dancing • dancing • song and dance

 Found in books: Gera (2014), Judith, 161, 335, 443, 448; Zawanowska and Wilk (2022), The Character of David in Judaism, Christianity and Islam: Warrior, Poet, Prophet and King, 519, 530

sup>
18.7 וַתַּעֲנֶינָה הַנָּשִׁים הַמְשַׂחֲקוֹת וַתֹּאמַרְןָ הִכָּה שָׁאוּל באלפו בַּאֲלָפָיו וְדָוִד בְּרִבְבֹתָיו׃'' None		sup>
18.7 And the women answered one another as they danced, and said, Sha᾽ul has slain his thousands, and David his ten thousands.'' None
2. Hebrew Bible, 2 Samuel, 6.14-6.16, 6.19-6.20 (8th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • David, his dancing • dancing • song and dance

 Found in books: Gera (2014), Judith, 161, 335, 447; Zawanowska and Wilk (2022), The Character of David in Judaism, Christianity and Islam: Warrior, Poet, Prophet and King, 519, 528, 574, 576, 577

sup>
6.14 וְדָוִד מְכַרְכֵּר בְּכָל־עֹז לִפְנֵי יְהוָה וְדָוִד חָגוּר אֵפוֹד בָּד׃ 6.15 וְדָוִד וְכָל־בֵּית יִשְׂרָאֵל מַעֲלִים אֶת־אֲרוֹן יְהוָה בִּתְרוּעָה וּבְקוֹל שׁוֹפָר׃ 6.16 וְהָיָה אֲרוֹן יְהוָה בָּא עִיר דָּוִד וּמִיכַל בַּת־שָׁאוּל נִשְׁקְפָה בְּעַד הַחַלּוֹן וַתֵּרֶא אֶת־הַמֶּלֶךְ דָּוִד מְפַזֵּז וּמְכַרְכֵּר לִפְנֵי יְהוָה וַתִּבֶז לוֹ בְּלִבָּהּ׃
6.19 וַיְחַלֵּק לְכָל־הָעָם לְכָל־הֲמוֹן יִשְׂרָאֵל לְמֵאִישׁ וְעַד־אִשָּׁה לְאִישׁ חַלַּת לֶחֶם אַחַת וְאֶשְׁפָּר אֶחָד וַאֲשִׁישָׁה אֶחָת וַיֵּלֶךְ כָּל־הָעָם אִישׁ לְבֵיתוֹ׃' ' None		sup>
6.14 And David leaped about before the Lord with all his might; and David was girded with a linen efod. 6.15 So David and all the house of Yisra᾽el brought up the ark of the Lord with shouting, and with the sound of the shofar. 6.16 And as the ark of the Lord came into the city of David, Mikhal, Sha᾽ul’s daughter looked through a window, and saw king David dancing and leaping before the Lord; and she despised him in her heart.
6.19 And he made a distribution among all the people, among the whole multitude of Yisra᾽el, both men and women, to everyone a cake of bread, and a good piece of meat, and a cake of raisins. So all the people departed everyone to his house. 6.20 Then David returned to bless his household. And Mikhal the daughter of Sha᾽ul came out to meet David, and said, How glorious was the king of Yisra᾽el today, in that he uncovered himself today in the eyes of the handmaids of his servants, as one of the low fellows shamelessly uncovers himself!'' None
3. Hebrew Bible, Isaiah, 30.29 (8th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • dance, • song and dance

 Found in books: Gera (2014), Judith, 443; Rubenstein(1995), The History of Sukkot in the Second Temple and Rabbinic Periods, 148

sup>
30.29 הַשִּׁיר יִהְיֶה לָכֶם כְּלֵיל הִתְקַדֶּשׁ־חָג וְשִׂמְחַת לֵבָב כַּהוֹלֵךְ בֶּחָלִיל לָבוֹא בְהַר־יְהוָה אֶל־צוּר יִשְׂרָאֵל׃'' None		sup>
30.29 Ye shall have a song As in the night when a feast is hallowed; And gladness of heart, as when one goeth with the pipe To come into the mountain of the LORD, to the Rock of Israel.'' None
4. Hesiod, Works And Days, 619-620 (8th cent. BCE - 7th cent. BCE)
 Tagged with subjects: • dance, choral • dance, cosmic • dancing,

 Found in books: Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 390; Bowie (2021), Essays on Ancient Greek Literature and Culture, 539

sup>
619 εὖτʼ ἂν Πληιάδες σθένος ὄβριμον Ὠαρίωνος'620 φεύγουσαι πίπτωσιν ἐς ἠεροειδέα πόντον, ' None		sup>
619 One’s skin. Bring in your crops and don’t be slow.'620 Rise early to secure your food supply. ' None
5. Homer, Iliad, 18.590-18.604 (8th cent. BCE - 7th cent. BCE)
 Tagged with subjects: • Dance • dance • dance, and Dionysiac cult

 Found in books: Clay and Vergados (2022), Teaching through Images: Imagery in Greco-Roman Didactic Poetry, 67; Horkey (2019), Cosmos in the Ancient World, 208; Lyons (1997), Gender and Immortality: Heroines in Ancient Greek Myth and Cult, 127; de Bakker, van den Berg, and Klooster (2022), Emotions and Narrative in Ancient Literature and Beyond, 173, 174

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18.590 ἐν δὲ χορὸν ποίκιλλε περικλυτὸς ἀμφιγυήεις, 18.591 τῷ ἴκελον οἷόν ποτʼ ἐνὶ Κνωσῷ εὐρείῃ 18.592 Δαίδαλος ἤσκησεν καλλιπλοκάμῳ Ἀριάδνῃ. 18.593 ἔνθα μὲν ἠΐθεοι καὶ παρθένοι ἀλφεσίβοιαι 18.594 ὀρχεῦντʼ ἀλλήλων ἐπὶ καρπῷ χεῖρας ἔχοντες. 18.595 τῶν δʼ αἳ μὲν λεπτὰς ὀθόνας ἔχον, οἳ δὲ χιτῶνας 18.596 εἵατʼ ἐϋννήτους, ἦκα στίλβοντας ἐλαίῳ· 18.597 καί ῥʼ αἳ μὲν καλὰς στεφάνας ἔχον, οἳ δὲ μαχαίρας 18.598 εἶχον χρυσείας ἐξ ἀργυρέων τελαμώνων. 18.599 οἳ δʼ ὁτὲ μὲν θρέξασκον ἐπισταμένοισι πόδεσσι 18.600 ῥεῖα μάλʼ, ὡς ὅτε τις τροχὸν ἄρμενον ἐν παλάμῃσιν 18.601 ἑζόμενος κεραμεὺς πειρήσεται, αἴ κε θέῃσιν· 18.602 ἄλλοτε δʼ αὖ θρέξασκον ἐπὶ στίχας ἀλλήλοισι. 18.603 πολλὸς δʼ ἱμερόεντα χορὸν περιίσταθʼ ὅμιλος 18.604 τερπόμενοι· δοιὼ δὲ κυβιστητῆρε κατʼ αὐτοὺς'' None		sup>
18.590 Therein furthermore the famed god of the two strong arms cunningly wrought a dancing-floor like unto that which in wide Cnosus Daedalus fashioned of old for fair-tressed Ariadne. There were youths dancing and maidens of the price of many cattle, holding their hands upon the wrists one of the other. 18.595 of these the maidens were clad in fine linen, while the youths wore well-woven tunics faintly glistening with oil; and the maidens had fair chaplets, and the youths had daggers of gold hanging from silver baldrics. Now would they run round with cunning feet 18.600 exceeding lightly, as when a potter sitteth by his wheel that is fitted between his hands and maketh trial of it whether it will run; and now again would they run in rows toward each other. And a great company stood around the lovely dance, taking joy therein; 18.604 exceeding lightly, as when a potter sitteth by his wheel that is fitted between his hands and maketh trial of it whether it will run; and now again would they run in rows toward each other. And a great company stood around the lovely dance, taking joy therein; '' None
6. None, None, nan (8th cent. BCE - 8th cent. BCE)
 Tagged with subjects: • choreuts (dancers), narrators of, and actors in myth • choreuts (dancers), real-life counterparts of mythical protagonists • dance

 Found in books: Horkey (2019), Cosmos in the Ancient World, 195; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 67
7. None, None, nan (6th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Dance, as medium of communication • Dance, audience • dance, choral

 Found in books: Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 384; Stavrianopoulou (2006), Ritual and Communication in the Graeco-Roman World, 64
8. Euripides, Bacchae, 73-87, 105-114, 120-134, 300, 566, 579, 582 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Column of the dancers • Dance • dance, dancing • dance, dancing,ecstatic, frenzied, maenadic, orgiastic • hagnos, of dance • young womens rituals, in Statius Achilleid, dance rituals

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 47, 162, 167, 291; Panoussi(2019), Brides, Mourners, Bacchae: Women's Rituals in Roman Literature, 215; Peels (2016), Hosios: A Semantic Study of Greek Piety, 236; Petrovic and Petrovic (2016), Inner Purity and Pollution in Greek Religion, 240

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73 μάκαρ, ὅστις εὐδαίμων
73 ὦ 74 βιοτὰν ἁγιστεύει καὶ 74 τελετὰς θεῶν εἰδὼς 75 θιασεύεται ψυχὰν 76 ἐν ὄρεσσι βακχεύων 77 ὁσίοις καθαρμοῖσιν, 78 τά τε ματρὸς μεγάλας ὄργια 79 Κυβέλας θεμιτεύων, 80 ἀνὰ θύρσον τε τινάσσων, 81 κισσῷ τε στεφανωθεὶς 82 Διόνυσον θεραπεύει. 83 ἴτε βάκχαι, ἴτε βάκχαι, 84 Βρόμιον παῖδα θεὸν θεοῦ 85 Διόνυσον κατάγουσαι 86 Φρυγίων ἐξ ὀρέων Ἑλλάδος εἰς 87 εὐρυχόρους ἀγυιάς, τὸν Βρόμιον· Χορός
105 ὦ Σεμέλας τροφοὶ Θῆβαι, word split in text 		sup>
73 Blessed is he who, being fortunate and knowing the rites of the gods, keeps his life pure and 75 has his soul initiated into the Bacchic revels, dancing in inspired frenzy over the mountains with holy purifications, and who, revering the mysteries of great mother Kybele, 80 brandishing the thyrsos, garlanded with ivy, serves Dionysus.Go, Bacchae, go, Bacchae, escorting the god Bromius, child of a god, 85 from the Phrygian mountains to the broad streets of Hellas—Bromius, Choru
105 O Thebes , nurse of Semele, crown yourself with ivy, flourish, flourish with the verdant yew bearing sweet fruit, and crown yourself in honor of Bacchus with branches of oak'106 O Thebes , nurse of Semele, crown yourself with ivy, flourish, flourish with the verdant yew bearing sweet fruit, and crown yourself in honor of Bacchus with branches of oak 110 or pine. Adorn your garments of spotted fawn-skin with fleeces of white sheep, and sport in holy games with insolent thyrsoi The thyrsos is a staff that is crowned with ivy and that is sacred to Dionysus and an emblem of his worship. . At once all the earth will dance—
120 O secret chamber of the Kouretes and you holy Cretan caves, parents to Zeus, where the Korybantes with triple helmet invented for me in their caves this circle, 125 covered with stretched hide; and in their excited revelry they mingled it with the sweet-voiced breath of Phrygian pipes and handed it over to mother Rhea, resounding with the sweet songs of the Bacchae; 130 nearby, raving Satyrs were fulfilling the rites of the mother goddess, and they joined it to the dances of the biennial festivals, in which Dionysus rejoices. Choru
300 For whenever the god enters a body in full force, he makes the frantic to foretell the future. He also possesses a share of Ares’ nature. For terror sometimes flutters an army under arms and in its ranks before it even touches a spear;
566 Blessed Pieria , the Joyful one reveres you and will come to lead the dance in revelry; having crossed the swiftly flowing Axius he will bring the
579 Who is here, who? From what quarter did the voice of the Joyful one summon me? Dionysu
582 Io! Io! Master, master! Come now to our company, Bromius. Dionysu ' None
9. Euripides, Electra, 467 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • dance • dance, choral

 Found in books: Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 389; Horkey (2019), Cosmos in the Ancient World, 17, 203, 207, 208

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467 ἄστρων τ' αἰθέριοι χοροί,"" None		sup>
467 was shining on winged horses, and the heavenly chorus of stars, Pleiades, Hyades, bringing defeat to the eyes of Hector;'' None
10. Herodotus, Histories, 6.129.2-6.129.4 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Aristophanes, dance • dance/dancers • dancing, • ephebes, dancing • martial dancing/music • vase paintings, depicting dance • women, dancing

 Found in books: Bowie (2021), Essays on Ancient Greek Literature and Culture, 275; Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 55, 56, 57

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6.129.2 After dinner the suitors vied with each other in music and in anecdotes for all to hear. As they sat late drinking, Hippocleides, now far outdoing the rest, ordered the flute-player to play him a dance-tune; the flute-player obeyed and he began to dance. I suppose he pleased himself with his dancing, but Cleisthenes saw the whole business with much disfavor. 6.129.3 Hippocleides then stopped for a while and ordered a table to be brought in; when the table arrived, he danced Laconian figures on it first, and then Attic; last of all he rested his head on the table and made gestures with his legs in the air. 6.129.4 Now Cleisthenes at the first and the second bout of dancing could no more bear to think of Hippocleides as his son-in-law, because of his dancing and his shamelessness, but he had held himself in check, not wanting to explode at Hippocleides; but when he saw him making gestures with his legs, he could no longer keep silence and said, “son of Tisandrus, you have danced away your marriage.” Hippocleides said in answer, “It does not matter to Hippocleides!” Since then this is proverbial. '' None
11. Plato, Euthyphro, None (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • dance, dancing • dances

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 46; Mikalson (2010), Greek Popular Religion in Greek Philosophy, 92

6b ΕΥΘ. καὶ ἔτι γε τούτων θαυμασιώτερα, ὦ Σώκρατες, ἃ οἱ πολλοὶ οὐκ ἴσασιν. ΣΩ. καὶ πόλεμον ἆρα ἡγῇ σὺ εἶναι τῷ ὄντι ἐν τοῖς θεοῖς πρὸς ἀλλήλους, καὶ ἔχθρας γε δεινὰς καὶ μάχας καὶ ἄλλα τοιαῦτα πολλά, οἷα λέγεταί τε ὑπὸ τῶν ποιητῶν, καὶ ὑπὸ τῶν'' None6b Euthyphro. Yes, and still more wonderful things than these, Socrates, which most people do not know. Socrates. And so you believe that there was really war between the gods, and fearful enmities and battles and other things of the sort, such as are told of by the poets and represented in varied design'' None
12. Plato, Phaedo, None (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • dances, in Magnesia • geranos (Delian crane-dance) • tribute, to Athens, blurring of religious and monetary in choral dance

 Found in books: Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 92; Mikalson (2010), Greek Popular Religion in Greek Philosophy, 86

58a ΦΑΙΔ. οὐδὲ τὰ περὶ τῆς δίκης ἄρα ἐπύθεσθε ὃν τρόπον ἐγένετο; γ ΕΧ. ναί, ταῦτα μὲν ἡμῖν ἤγγειλέ τις, καὶ ἐθαυμάζομέν γε ὅτι πάλαι γενομένης αὐτῆς πολλῷ ὕστερον φαίνεται ἀποθανών. τί οὖν ἦν τοῦτο, ὦ Φαίδων ; ΦΑΙΔ. τύχη τις αὐτῷ, ὦ Ἐχέκρατες, συνέβη: ἔτυχεν γὰρ τῇ προτεραίᾳ τῆς δίκης ἡ πρύμνα ἐστεμμένη τοῦ πλοίου ὃ εἰς Δῆλον Ἀθηναῖοι πέμπουσιν. ΕΧ. τοῦτο δὲ δὴ τί ἐστιν; ΦΑΙΔ. τοῦτ’ ἔστι τὸ πλοῖον, ὥς φασιν Ἀθηναῖοι, ἐν ᾧ Θησεύς ποτε εἰς Κρήτην τοὺς δὶς ἑπτὰ ἐκείνους ᾤχετο'58b ἄγων καὶ ἔσωσέ τε καὶ αὐτὸς ἐσώθη. τῷ οὖν Ἀπόλλωνι ηὔξαντο ὡς λέγεται τότε, εἰ σωθεῖεν, ἑκάστου ἔτους θεωρίαν ἀπάξειν εἰς Δῆλον : ἣν δὴ ἀεὶ καὶ νῦν ἔτι ἐξ ἐκείνου κατ’ ἐνιαυτὸν τῷ θεῷ πέμπουσιν. ἐπειδὰν οὖν ἄρξωνται τῆς θεωρίας, νόμος ἐστὶν αὐτοῖς ἐν τῷ χρόνῳ τούτῳ καθαρεύειν τὴν πόλιν καὶ δημοσίᾳ μηδένα ἀποκτεινύναι, πρὶν ἂν εἰς Δῆλόν τε ἀφίκηται τὸ πλοῖον καὶ πάλιν δεῦρο: τοῦτο δ’ ἐνίοτε ἐν πολλῷ χρόνῳ γίγνεται, ὅταν τύχωσιν ἄνεμοι ἀπολαβόντες ' None58a Phaedo. Did you not even hear about the trial and how it was conducted? Echecrates. Yes, some one told us about that, and we wondered that although it took place a long time ago, he was put to death much later. Now why was that, Phaedo? Phaedo. It was a matter of chance, Echecrates. It happened that the stern of the ship which the Athenians send to Delos was crowned on the day before the trial. Echecrates. What ship is this? Phaedo. This is the ship, as the Athenians say, in which Theseus once went to Crete with the fourteen'58b youths and maidens, and saved them and himself. Now the Athenians made a vow to Apollo, as the story goes, that if they were saved they would send a mission every year to Delos . And from that time even to the present day they send it annually in honor of the god. Now it is their law that after the mission begins the city must be pure and no one may be publicly executed until the ship has gone to Delos and back; and sometimes, when contrary wind ' None
13. Sophocles, Ajax, 695-701 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • dance, and the chorus • dance, dancing,ecstatic, frenzied, maenadic, orgiastic

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 289; Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 713

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695 O Pan, O Pan, appear to us, sea-rover, from the stony ridge of snow-beaten Cyllene. King, dancemaker for the gods, come, so that joining with us you may set on the Nysian and the Cnosian steps,'696 O Pan, O Pan, appear to us, sea-rover, from the stony ridge of snow-beaten Cyllene. King, dancemaker for the gods, come, so that joining with us you may set on the Nysian and the Cnosian steps, 700 your self-taught dances. Now I want to dance. And may Apollo, lord of Delos , step over the Icarian sea ' None
14. Sophocles, Antigone, 1147 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • dance, choral • dance, dancing,ecstatic, frenzied, maenadic, orgiastic

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 280, 289, 290; Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 389

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1147 O Leader of the chorus of the stars whose breath is fire, overseer of the chants in the night, son begotten of Zeus,'' None
15. Sophocles, Women of Trachis, 216 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • dance, and the chorus • dance, dancing,ecstatic, frenzied, maenadic, orgiastic

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 289; Jouanna (2018), Sophocles: A Study of His Theater in Its Political and Social Context, 713

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216 and to the nymphs her neighbors! I am uplifted, I will not spurn the flute—O you master of my heart! Behold, his ivy stirs me! Euoe! '' None
16. Xenophon, Symposium, 2.12, 3.2, 9.2-9.7 (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • Archelaus (dancer) • Xenophon, dancing • action (danced) • dance teacher / choreographer, ancient • dance, and eroticism • dance, mimetic • dance, round / circular • dance/dancers, sexual exploitation of • dancing, • erotic dance • music-and-dance, mousikē

 Found in books: Bowie (2021), Essays on Ancient Greek Literature and Culture, 122; Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 156, 165; Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 6, 50, 53, 73, 75, 76, 77

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2.12 Then Socrates , drawing Antisthenes’ attention, said: Witnesses of this feat, surely, will never again deny, I feel sure, that courage, like other things, admits of being taught, when this girl, in spite of her sex, leaps so boldly in among the swords!
3.2 Then Socrates resumed the conversation. These people, gentlemen, said he, show their competence to give us pleasure; and yet we, I am sure, think ourselves considerably superior to them. Will it not be to our shame, therefore, if we do not make even an attempt, while here together, to be of some service or to give some pleasure one to another? At that many spoke up: You lead the way, then, and tell us what to begin talking about to realize most fully what you have in mind.
9.2 After he had withdrawn, a chair of state, first of all, was set down in the room, and then the Syracusan came in with the announcement: Gentlemen, Ariadne will now enter the chamber set apart for her and Dionysus; after that, Dionysus, a little flushed with wine drunk at a banquet of the gods, will come to join her; and then they will disport themselves together. 9.3 Then, to start proceedings, in came Ariadne, apparelled as a bride, and took her seat in the chair. Dionysus being still invisible, there was heard the Bacchic music played on a flute. Then it was that the assemblage was filled with admiration of the dancing master. For as soon as Ariadne heard the strain, her action was such that every one might have perceived her joy at the sound; and although she did not go to meet Dionysus, nor even rise, yet it was clear that she kept her composure with difficulty. 9.4 But when Dionysus caught sight of her, he came dancing toward her and in a most loving manner sat himself on her lap, and putting his arms about her gave her a kiss. Her demeanour was all modesty, and yet she returned his embrace with affection. As the banqueters beheld it, they kept clapping and crying encore! 9.5 Then when Dionysus arose and gave his hand to Ariadne to rise also, there was presented the impersonation of lovers kissing and caressing each other. The onlookers viewed a Dionysus truly handsome, an Ariadne truly fair, not presenting a burlesque but offering genuine kisses with their lips; and they were all raised to a high pitch of enthusiasm as they looked on. 9.6 For they overheard Dionysus asking her if she loved him, and heard her vowing that she did, so earnestly that not only Dionysus but all the bystanders as well would have taken their oaths in confirmation that the youth and the maid surely felt a mutual affection. For theirs was the appearance not of actors who had been taught their poses but of persons now permitted to satisfy their long-cherished desires. 9.7 At last, the banqueters, seeing them in each other’s embrace and obviously leaving for the bridal couch, those who were unwedded swore that they would take to themselves wives, and those who were already married mounted horse and rode off to their wives that they might enjoy them. As for Socrates and the others who had lingered behind, they went out with Callias to join Lycon and his son in their walk. So broke up the banquet held that evening.'' None
17. None, None, nan (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • Column of the dancers • dance, dancing • dance, dancing,ecstatic, frenzied, maenadic, orgiastic • tribute, to Athens, blurring of religious and monetary in choral dance

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 48, 110, 291; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 115
18. None, None, nan (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • dance, round / circular • tribute, to Athens, blurring of religious and monetary in choral dance

 Found in books: Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 45; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 113, 115, 116
19. None, None, nan (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • Cyrene, dance, in drama • dance • dance, dancing • dance, dancing,ecstatic, frenzied, maenadic, orgiastic • dance, mimetic • dance, round / circular

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 48, 109, 112, 175, 273; Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 9, 45; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 209, 229; Waldner et al. (2016), Burial Rituals, Ideas of Afterlife, and the Individual in the Hellenistic World and the Roman Empire, 58
20. None, None, nan (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • Aristophanes, and dance at the Thesmophoria (in Thesm.) • Cyrene, dance, in drama • dance, dancing • dance, dancing,choral • dance, dancing,ecstatic, frenzied, maenadic, orgiastic • dance, mimetic • dance, round / circular • ephebes, dancing • gods, dancing to • martial dancing/music • tribute, to Athens, blurring of religious and monetary in choral dance • vase paintings, depicting dance • women, dancing

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 47, 273, 289, 381; Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 54, 55; Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 9, 45; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 113, 115; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 207
21. None, None, nan (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • Hellenistic period, dancing • dance, cinaedic • dance/dancers, Hellenistic • dance/dancers, sexual exploitation of • dancing, • erotic dance

 Found in books: Bowie (2021), Essays on Ancient Greek Literature and Culture, 703; Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 104, 154; Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 241
22. None, None, nan (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • action (danced) • dance, round / circular • pyrrhic dances

 Found in books: Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 165, 171, 173, 174; Hesk (2000), Deception and Democracy in Classical Athens, 77
23. None, None, nan (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • dance, dancing • sikinnis (dance)

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 47; Seaford (2018), Tragedy, Ritual and Money in Ancient Greece: Selected Essays, 150
24. None, None, nan (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Cyrene, dance, in drama • actors, dancing • dance teacher / choreographer, ancient

 Found in books: Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 130; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 229
25. Septuagint, 3 Maccabees, 2.29, 6.31-6.32 (2nd cent. BCE - 2nd cent. BCE)
 Tagged with subjects: • dance, dancing • song and dance

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 456; Gera (2014), Judith, 443, 445

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2.29 those who are registered are also to be branded on their bodies by fire with the ivy-leaf symbol of Dionysus, and they shall also be reduced to their former limited status."
6.31 Accordingly those disgracefully treated and near to death, or rather, who stood at its gates, arranged for a banquet of deliverance instead of a bitter and lamentable death, and full of joy they apportioned to celebrants the place which had been prepared for their destruction and burial. 6.32 They ceased their chanting of dirges and took up the song of their fathers, praising God, their Savior and worker of wonders. Putting an end to all mourning and wailing, they formed choruses as a sign of peaceful joy.'' None
26. Septuagint, Judith, 15.12 (2nd cent. BCE - 0th cent. CE)
 Tagged with subjects: • dance, • song and dance

 Found in books: Gera (2014), Judith, 161, 229, 446, 447; Rubenstein(1995), The History of Sukkot in the Second Temple and Rabbinic Periods, 135

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15.12 Then all the women of Israel gathered to see her, and blessed her, and some of them performed a dance for her; and she took branches in her hands and gave them to the women who were with her; '' None
27. Diodorus Siculus, Historical Library, 4.3.3 (1st cent. BCE - 1st cent. BCE)
 Tagged with subjects: • dance • dance, dancing • dance, dancing,ecstatic, frenzied, maenadic, orgiastic

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 46, 141, 167; de Jáuregui (2010), Orphism and Christianity in Late Antiquity, 270

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4.3.3 \xa0Consequently in many Greek cities every other year Bacchic bands of women gather, and it is lawful for the maidens to carry the thyrsus and to join in the frenzied revelry, crying out "Euai!" and honouring the god; while the matrons, forming in groups, offer sacrifices to the god and celebrate his mysteries and, in general, extol with hymns the presence of Dionysus, in this manner acting the part of the Maenads who, as history records, were of old the companions of the god.'' None
28. Ovid, Fasti, 3.535-3.538 (1st cent. BCE - missingth cent. CE)
 Tagged with subjects: • dance, popular • dance/dancers, nonelite women at festivals

 Found in books: Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 263; Richlin (2018), Slave Theater in the Roman Republic: Plautus and Popular Comedy, 355

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3.535 illic et cantant, quicquid didicere theatris, 3.536 et iactant faciles ad sua verba manus 3.537 et ducunt posito duras cratere choreas, 3.538 cultaque diffusis saltat amica comis,'' None		sup>
3.535 Beating time to the words with ready hands, 3.536 And setting the bowl down, dance coarsely, 3.537 The trim girl leaping about with streaming hair. 3.538 Homecoming they stagger, a sight for vulgar eyes,'' None
29. Philo of Alexandria, On The Creation of The World, 70 (1st cent. BCE - missingth cent. CE)
 Tagged with subjects: • cosmic dance, • dance, dancing

 Found in books: Werline et al. (2008), Experientia, Volume 1: Inquiry Into Religious Experience in Early Judaism and Christianity, 90; Wilson (2010), Philo of Alexandria: On Virtues: Introduction, Translation, and Commentary, 188

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70 And again, being raised up on wings, and so surveying and contemplating the air, and all the commotions to which it is subject, it is borne upwards to the higher firmament, and to the revolutions of the heavenly bodies. And also being itself involved in the revolutions of the planets and fixed stars according to the perfect laws of music, and being led on by love, which is the guide of wisdom, it proceeds onwards till, having surmounted all essence intelligible by the external senses, it comes to aspire to such as is perceptible only by the intellect: '' None
30. Apollodorus, Bibliotheca, 3.5.2 (1st cent. CE - 2nd cent. CE)
 Tagged with subjects: • dance, dancing • dance, dancing,ecstatic, frenzied, maenadic, orgiastic • social change, danced in the dithyramb

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 14, 49; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 169

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3.5.2 διελθὼν δὲ Θρᾴκην καὶ τὴν Ἰνδικὴν ἅπασαν, στήλας ἐκεῖ στήσας 1 -- ἧκεν εἰς Θήβας, καὶ τὰς γυναῖκας ἠνάγκασε καταλιπούσας τὰς οἰκίας βακχεύειν ἐν τῷ Κιθαιρῶνι. Πενθεὺς δὲ γεννηθεὶς ἐξ Ἀγαυῆς Ἐχίονι, παρὰ Κάδμου εἰληφὼς τὴν βασιλείαν, διεκώλυε ταῦτα γίνεσθαι, καὶ παραγενόμενος εἰς Κιθαιρῶνα τῶν Βακχῶν κατάσκοπος ὑπὸ τῆς μητρὸς Ἀγαυῆς κατὰ μανίαν ἐμελίσθη· ἐνόμισε γὰρ αὐτὸν θηρίον εἶναι. δείξας δὲ Θηβαίοις ὅτι θεός ἐστιν, ἧκεν εἰς Ἄργος, κἀκεῖ 2 -- πάλιν οὐ τιμώντων αὐτὸν ἐξέμηνε τὰς γυναῖκας. αἱ δὲ ἐν τοῖς ὄρεσι τοὺς ἐπιμαστιδίους ἔχουσαι 3 -- παῖδας τὰς σάρκας αὐτῶν ἐσιτοῦντο.'' None		sup>
3.5.2 Having traversed Thrace and the whole of India and set up pillars there, he came to Thebes, and forced the women to abandon their houses and rave in Bacchic frenzy on Cithaeron. But Pentheus, whom Agave bore to Echion, had succeeded Cadmus in the kingdom, and he attempted to put a stop to these proceedings. And coming to Cithaeron to spy on the Bacchanals, he was torn limb from limb by his mother Agave in a fit of madness; for she thought he was a wild beast. And having shown the Thebans that he was a god, Dionysus came to Argos, and there again, because they did not honor him, he drove the women mad, and they on the mountains devoured the flesh of the infants whom they carried at their breasts.'' None
31. Dio Chrysostom, Orations, 32.60 (1st cent. CE - missingth cent. CE)
 Tagged with subjects: • Lucian (writer)\n, On Dance • Lucian of Samosata, On Dancing • Plutarch, aristocratic singing and dancing at parties

 Found in books: Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 185; Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 112

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32.60 \xa0Surely it is not the Spartans you are imitating, is it? It is said, you know, that in olden days they made war to the accompaniment of the pipe; but your warfare is to the accompaniment of the harp. Or do you desire â\x80\x94 for I\xa0myself have compared king with commons do you, I\xa0ask, desire to be thought afflicted with the same disease as Nero? Why, not even he profited by his intimate acquaintance with music and his devotion to it. And how much better it would be to imitate the present ruler in his devotion to culture and reason! Will you not discard that disgraceful and immoderate craving for notoriety? Will you not be cautious about poking fun at everybody else, and, what is more, before persons who, if I\xa0may say so, have nothing great or wonder­ful to boast of? <'' None
32. Plutarch, Cimon, 8.7 (1st cent. CE - 2nd cent. CE)
 Tagged with subjects: • Cyrene, dance, in drama • tribute, to Athens, blurring of religious and monetary in choral dance

 Found in books: Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 91; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 342

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8.7 ἔθεντο δʼ εἰς μνήμην αὐτοῦ καὶ τὴν τῶν τραγῳδῶν κρίσιν ὀνομαστὴν γενομένην. πρώτην γὰρ διδασκαλίαν τοῦ Σοφοκλέους ἔτι νέου καθέντος, Ἀψεφίων ὁ ἄρχων, φιλονεικίας οὔσης καὶ παρατάξεως τῶν θεατῶν, κριτὰς μὲν οὐκ ἐκλήρωσε τοῦ ἀγῶνος, ὡς δὲ Κίμων μετὰ τῶν συστρατήγων προελθὼν εἰς τὸ θέατρον ἐποιήσατο τῷ θεῷ τὰς νενομισμένας σπονδάς, οὐκ ἀφῆκεν αὐτοὺς ἀπελθεῖν, ἀλλʼ ὁρκώσας ἠνάγκασε καθίσαι καὶ κρῖναι δέκα ὄντας, ἀπὸ φυλῆς μιᾶς ἕκαστον.'' None		sup>
8.7 '' None
33. None, None, nan (1st cent. CE - 2nd cent. CE)
 Tagged with subjects: • Dance • dancing • geranos (Delian crane-dance) • geranos dance • tribute, to Athens, blurring of religious and monetary in choral dance

 Found in books: Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 90, 92; Rutter and Sparkes (2012), Word and Image in Ancient Greece, 83; de Bakker, van den Berg, and Klooster (2022), Emotions and Narrative in Ancient Literature and Beyond, 173
34. Pausanias, Description of Greece, 2.20.4, 2.22.1, 5.16.5-5.16.7, 10.4.3 (2nd cent. CE - 2nd cent. CE)
 Tagged with subjects: • dance, and Dionysiac cult • dance, dancing • dance, dancing,ecstatic, frenzied, maenadic, orgiastic • dancing, • social change, danced in the dithyramb

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 16, 167, 292; Bowie (2021), Essays on Ancient Greek Literature and Culture, 539; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 168, 169; Lyons (1997), Gender and Immortality: Heroines in Ancient Greek Myth and Cult, 127, 128

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2.20.4 τὸ δὲ μνῆμα τὸ πλησίον Χορείας μαινάδος ὀνομάζουσι, Διονύσῳ λέγοντες καὶ ἄλλας γυναῖκας καὶ ταύτην ἐς Ἄργος συστρατεύσασθαι, Περσέα δέ, ὡς ἐκράτει τῆς μάχης, φονεῦσαι τῶν γυναικῶν τὰς πολλάς· τὰς μὲν οὖν λοιπὰς θάπτουσιν ἐν κοινῷ, ταύτῃ δὲ—ἀξιώματι γὰρ δὴ προεῖχεν—ἰδίᾳ τὸ μνῆμα ἐποίησαν.
2.22.1 τῆς δὲ Ἥρας ὁ ναὸς τῆς Ἀνθείας ἐστὶ τοῦ ἱεροῦ τῆς Λητοῦς ἐν δεξιᾷ καὶ πρὸ αὐτοῦ γυναικῶν τάφος. ἀπέθανον δὲ αἱ γυναῖκες ἐν μάχῃ πρὸς Ἀργείους τε καὶ Περσέα, ἀπὸ νήσων τῶν ἐν Αἰγαίῳ Διονύσῳ συνεστρατευμέναι· καὶ διὰ τοῦτο Ἁλίας αὐτὰς ἐπονομάζουσιν. ἀντικρὺ δὲ τοῦ μνήματος τῶν γυναικῶν Δήμητρός ἐστιν ἱερὸν ἐπίκλησιν Πελασγίδος ἀπὸ τοῦ ἱδρυσαμένου Πελασγοῦ τοῦ Τριόπα, καὶ οὐ πόρρω τοῦ ἱεροῦ τάφος Πελασγοῦ.
5.16.5 ἐς δὲ τὰς ἑκκαίδεκα γυναῖκας καὶ ἄλλον τοιόνδε λέγουσιν ἐπὶ τῷ προτέρῳ λόγον. Δαμοφῶντά φασι τυραννοῦντα ἐν Πίσῃ πολλά τε ἐργάσασθαι καὶ χαλεπὰ Ἠλείους· ὡς δὲ ἐτελεύτησεν ὁ Δαμοφῶν—οὐ γὰρ δὴ οἱ Πισαῖοι συνεχώρουν μετέχειν δημοσίᾳ τοῦ τυράννου τῶν ἁμαρτημάτων, καί πως ἀρεστὰ καὶ Ἠλείοις ἐγένετο καταλύεσθαι τὰ ἐς αὐτοὺς ἐγκλήματα—, οὕτως ἑκκαίδεκα οἰκουμένων τηνικαῦτα ἔτι ἐν τῇ Ἠλείᾳ πόλεων γυναῖκα ἀφʼ ἑκάστης εἵλοντο διαλύειν τὰ διάφορά σφισιν, ἥτις ἡλικίᾳ τε ἦν πρεσβυτάτη καὶ ἀξιώματι καὶ δόξῃ τῶν γυναικῶν προεῖχεν. 5.16.6 αἱ πόλεις δὲ ἀφʼ ὧν τὰς γυναῖκας εἵλοντο, ἦσαν Ἦλις . ἀπὸ τούτων μὲν αἱ γυναῖκες οὖσαι τῶν πόλεων Πισαίοις διαλλαγὰς πρὸς Ἠλείους ἐποίησαν· ὕστερον δὲ καὶ τὸν ἀγῶνα ἐπετράπησαν ὑπʼ αὐτῶν θεῖναι τὰ Ἡραῖα καὶ ὑφήνασθαι τῇ Ἥρᾳ τὸν πέπλον. αἱ δὲ ἑκκαίδεκα γυναῖκες καὶ χοροὺς δύο ἱστᾶσι καὶ τὸν μὲν Φυσκόας τῶν χορῶν, τὸν δὲ Ἱπποδαμείας καλοῦσι· τὴν Φυσκόαν δὲ εἶναι ταύτην φασὶν ἐκ τῆς Ἤλιδος τῆς Κοίλης, τῷ δήμῳ δὲ ἔνθα ᾤκησεν ὄνομα μὲν Ὀρθίαν εἶναι. 5.16.7 ταύτῃ τῇ Φυσκόᾳ Διόνυσον συγγενέσθαι λέγουσι, Φυσκόαν δὲ ἐκ Διονύσου τεκεῖν παῖδα Ναρκαῖον· τοῦτον, ὡς ηὐξήθη, πολεμεῖν τοῖς προσοίκοις καὶ δυνάμεως ἐπὶ μέγα ἀρθῆναι, καὶ δὴ καὶ Ἀθηνᾶς ἱερὸν ἐπίκλησιν Ναρκαίας αὐτὸν ἱδρύσασθαι· Διονύσῳ τε τιμὰς λέγουσιν ὑπὸ Ναρκαίου καὶ Φυσκόας δοθῆναι πρώτων. Φυσκόας μὲν δὴ γέρα καὶ ἄλλα καὶ χορὸς ἐπώνυμος παρὰ τῶν ἑκκαίδεκα γυναικῶν, φυλάσσουσι δὲ οὐδὲν ἧσσον Ἠλεῖοι καὶ τἄλλα καταλυθεισῶν ὅμως τῶν πόλεων· νενεμημένοι γὰρ ἐς ὀκτὼ φυλὰς ἀφʼ ἑκάστης αἱροῦνται γυναῖκας δύο.
10.4.3 τὸ ἕτερον δὲ οὐκ ἐδυνήθην συμβαλέσθαι πρότερον, ἐφʼ ὅτῳ καλλίχορον τὸν Πανοπέα εἴρηκε, πρὶν ἢ ἐδιδάχθην ὑπὸ τῶν παρʼ Ἀθηναίοις καλουμένων Θυιάδων. αἱ δὲ Θυιάδες γυναῖκες μέν εἰσιν Ἀττικαί, φοιτῶσαι δὲ ἐς τὸν Παρνασσὸν παρὰ ἔτος αὐταί τε καὶ αἱ γυναῖκες Δελφῶν ἄγουσιν ὄργια Διονύσῳ. ταύταις ταῖς Θυιάσι κατὰ τὴν ἐξ Ἀθηνῶν ὁδὸν καὶ ἀλλαχοῦ χοροὺς ἱστάναι καὶ παρὰ τοῖς Πανοπεῦσι καθέστηκε· καὶ ἡ ἐπίκλησις ἡ ἐς τὸν Πανοπέα Ὁμήρου ὑποσημαίνειν τῶν Θυιάδων δοκεῖ τὸν χορόν.'' None		sup>
2.20.4 The tomb near this they call that of the maenad Chorea, saying that she was one of the women who joined Dionysus in his expedition against Argos, and that Perseus, being victorious in the battle, put most of the women to the sword. To the rest they gave a common grave, but to Chorea they gave burial apart because of her high rank.
2.22.1 The temple of Hera Anthea (Flowery) is on the right of the sanctuary of Leto, and before it is a grave of women. They were killed in a battle against the Argives under Perseus, having come from the Aegean Islands to help Dionysus in war; for which reason they are surnamed Haliae (Women of the Sea). Facing the tomb of the women is a sanctuary of Demeter, surnamed Pelasgian from Pelasgus, son of Triopas, its founder, and not far from the sanctuary is the grave of Pelasgus.' "
5.16.5 Besides the account already given they tell another story about the Sixteen Women as follows. Damophon, it is said, when tyrant of Pisa did much grievous harm to the Eleans. But when he died, since the people of Pisa refused to participate as a people in their tyrant's sins, and the Eleans too became quite ready to lay aside their grievances, they chose a woman from each of the sixteen cities of Elis still inhabited at that time to settle their differences, this woman to be the oldest, the most noble, and the most esteemed of all the women." '5.16.6 The cities from which they chose the women were Elis, The women from these cities made peace between Pisa and Elis . Later on they were entrusted with the management of the Heraean games, and with the weaving of the robe for Hera. The Sixteen Women also arrange two choral dances, one called that of Physcoa and the other that of Hippodameia. This Physcoa they say came from Elis in the Hollow, and the name of the parish where she lived was Orthia. 5.16.7 She mated they say with Dionysus, and bore him a son called Narcaeus. When he grew up he made war against the neighboring folk, and rose to great power, setting up moreover a sanctuary of Athena surnamed Narcaea. They say too that Narcaeus and Physcoa were the first to pay worship to Dionysus. So various honors are paid to Physcoa, especially that of the choral dance, named after her and managed by the Sixteen Women. The Eleans still adhere to the other ancient customs, even though some of the cities have been destroyed. For they are now divided into eight tribes, and they choose two women from each.
10.4.3 The former passage, in which Homer speaks of the beautiful dancing-floors of Panopeus, I could not understand until I was taught by the women whom the Athenians call Thyiads. The Thyiads are Attic women, who with the Delphian women go to Parnassus every other year and celebrate orgies in honor of Dionysus. It is the custom for these Thyiads to hold dances at places, including Panopeus, along the road from Athens . The epithet Homer applies to Panopeus is thought to refer to the dance of the Thyiads.'' None
35. Philostratus The Athenian, Life of Apollonius, 4.21 (2nd cent. CE - missingth cent. CE)
 Tagged with subjects: • dance, dancing,ecstatic, frenzied, maenadic, orgiastic • dancing

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 175; Tanaseanu-Döbler and von Alvensleben (2020), Athens II: Athens in Late Antiquity, 63

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4.21 ἐπιπλῆξαι δὲ λέγεται περὶ Διονυσίων ̓Αθηναίοις, ἃ ποιεῖταί σφισιν ἐν ὥρᾳ τοῦ ἀνθεστηριῶνος: ὁ μὲν γὰρ μονῳδίας ἀκροασομένους καὶ μελοποιίας παραβάσεών τε καὶ ῥυθμῶν, ὁπόσοι κωμῳδίας τε καὶ τραγῳδίας εἰσίν, ἐς τὸ θέατρον ξυμφοιτᾶν ᾤετο, ἐπεὶ δὲ ἤκουσεν, ὅτι αὐλοῦ ὑποσημήναντος λυγισμοὺς ὀρχοῦνται καὶ μεταξὺ τῆς ̓Ορφέως ἐποποιίας τε καὶ θεολογίας τὰ μὲν ὡς ̔͂Ωραι, τὰ δὲ ὡς Νύμφαι, τὰ δὲ ὡς Βάκχαι πράττουσιν, ἐς ἐπίπληξιν τούτου κατέστη καὶ “παύσασθε” εἶπεν “ἐξορχούμενοι τοὺς Σαλαμινίους καὶ πολλοὺς ἑτέρους κειμένους ἀγαθοὺς ἄνδρας, εἰ μὲν γὰρ Λακωνικὴ ταῦτα ὄρχησις, εὖγε οἱ στρατιῶται, γυμνάζεσθε γὰρ πολέμῳ καὶ ξυνορχήσομαι, εἰ δὲ ἁπαλὴ καὶ ἐς τὸ θῆλυ σπεύδουσα, τί φῶ περὶ τῶν τροπαίων; οὐ γὰρ κατὰ Μήδων ταῦτα ἢ Περσῶν, καθ' ὑμῶν δὲ ἑστήξει, τῶν ἀναθέντων αὐτὰ εἰ λίποισθε. κροκωτοὶ δὲ ὑμῖν καὶ ἁλουργία καὶ κοκκοβαφία τοιαύτη πόθεν; οὐδὲ γὰρ αἱ ̓Αχαρναί γε ὧδε ἐστέλλοντο, οὐδὲ ὁ Κολωνὸς ὧδε ἵππευε. καὶ τί λέγω ταῦτα; γυνὴ ναύαρχος ἐκ Καρίας ἐφ' ὑμᾶς ἔπλευσε μετὰ Ξέρξου, καὶ ἦν αὐτῇ γυναικεῖον οὐδέν, ἀλλ' ἀνδρὸς στολὴ καὶ ὅπλα, ὑμεῖς δὲ ἁβρότεροι τῶν Ξέρξου γυναικῶν ἐφ' ἑαυτοὺς στέλλεσθε οἱ γέροντες οἱ νέοι τὸ ἐφηβικόν, οἳ πάλαι μὲν ὤμνυσαν ἐς ̓Αγραύλου φοιτῶντες ὑπὲρ τῆς πατρίδος ἀποθανεῖσθαι καὶ ὅπλα θήσεσθαι, νῦν δὲ ἴσως ὀμοῦνται ὑπὲρ τῆς πατρίδος βακχεύσειν καὶ θύρσον λήψεσθαι κόρυν μὲν οὐδεμίαν φέρον, γυναικομίμῳ δὲ μορφώματι, κατὰ τὸν Εὐριπίδην, αἰσχρῶς διαπρέπον. ἀκούω δὲ ὑμᾶς καὶ ἀνέμους γίγνεσθαι καὶ λῄδια ἀνασείειν λέγεσθε ἔπιπλα μετεώρως αὐτὰ κολποῦντες. ἔδει δὲ ἀλλὰ τούτους γε αἰδεῖσθαι, ξυμμάχους ὄντας καὶ πνεύσαντας ὑπὲρ ὑμῶν μέγα, μηδὲ τὸν Βορέαν κηδεστήν γε ὄντα καὶ παρὰ πάντας τοὺς ἀνέμους ἄρσενα ποιεῖσθαι θῆλυν, οὐδὲ γὰρ τῆς ̓Ωρειθυίας ἐραστὴς ἄν ποτε ὁ Βορέας ἐγένετο, εἰ κἀκείνην ὀρχουμένην εἶδε.”"" None		sup>
4.21 And he is said to have rebuked the Athenians for their conduct of the festival of Dionysus, which they hold at the season of the month Anthesterion. For when he saw them flocking to the theater he imagined that the were going to listen to solos and compositions in the way of processional and rhythmic hymns, such as are sung in comedies and tragedies; but when he heard them dancing lascivious jigs to the rondos of a pipe, and in the midst of the sacred epic of Orpheus striking attitudes as the Hours, or as nymphs, or as bacchants, he set himself to rebuke their proceedings and said: Stop dancing away the reputations of the victors of Salamis as well as of many other good men deported this life. For if indeed this were a Lacedaemonian form of dance, I would say, “Bravo, soldiers; for you are training yourselves for war, and I will join in your dance'; but as it is a soft dance and one of effeminate tendency, what am I to say of your national trophies? Not as monuments of shame to the Medians or Persians, but to your own shame they will have been raised, should you degenerate so much from those who set them up. And what do you mean by your saffron robes and your purple and scarlet raiment? For surely the Acharnians never dressed themselves up in this way, nor ever the knights of Colonus rode in such garb. A woman commanded a ship from Caria and sailed against you with Xerxes, and about her there was nothing womanly, but she wore the garb and armor of a man; but you are softer than the women of Xerxes' day, and you are dressing yourselves up to your own despite, old and young and striplings alike, all those who of old flocked to the shrine of Agraulus in order to swear to die in battle on behalf of the fatherland. And now it seems that the same people are ready to swear to become bacchants and don the thyrsus in behalf of their country; and no one bears a helmet, but disguised as female harlequins, to use the phrase of Euripides, they shine in shame alone. Nay more, I hear that you turn yourselves into winds, and wave your skirts, and pretend that you are ships bellying their sails aloft. But surely you might at least have some respect for the winds that were your allies and once blew mightily to protect you, instead of turning Boreas who was your patron, and who of all the winds is the most masculine, into a woman; for Boreas would never have become the lover of Oreithya, if he had seen her executing, like you, a skirt dance."" None
36. None, None, nan (2nd cent. CE - 2nd cent. CE)
 Tagged with subjects: • Bes-figures, dancing • action (danced) • belly-dance • dance, ancient, reconstructed, reenacted • dance, bacchic • dance, non-representational / pure • martial dancing/music, Roman era

 Found in books: Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 255; Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 87, 198, 275; Griffiths (1975), The Isis-Book (Metamorphoses, Book XI), 182
37. None, None, nan (2nd cent. CE - 3rd cent. CE)
 Tagged with subjects: • Proitids, from roaming to in woods to dancing in sacred herd • choreuts (dancers), real-life counterparts of mythical protagonists • chorus, khoros, animals in myth turned into dancers in ritual • dance, dancing,ecstatic, frenzied, maenadic, orgiastic • purification, in dance

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 14; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 278, 282
38. None, None, nan (2nd cent. CE - 2nd cent. CE)
 Tagged with subjects: • Lucian (writer)\n, On Dance • Lucian of Samosata, On Dancing • dance • dance, dancing,ecstatic, frenzied, maenadic, orgiastic

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 174, 175, 279, 280; Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 193; Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 112; Waldner et al. (2016), Burial Rituals, Ideas of Afterlife, and the Individual in the Hellenistic World and the Roman Empire, 58



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