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) 161, 335, 443, 448; Zawanowska and Wilk (2022) 519, 530
18.7. וַתַּעֲנֶינָה הַנָּשִׁים הַמְשַׂחֲקוֹת וַתֹּאמַרְןָ הִכָּה שָׁאוּל באלפו בַּאֲלָפָיו וְדָוִד בְּרִבְבֹתָיו׃''. None | 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 |
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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) 161, 335, 447; Zawanowska and Wilk (2022) 519, 528, 574, 576, 577
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 | 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 |
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3. Hebrew Bible, Isaiah, 30.29 (8th cent. BCE - 5th cent. BCE)
Tagged with subjects: • dance, • song and dance
Found in books: Gera (2014) 443; Rubenstein(1995) 148
30.29. הַשִּׁיר יִהְיֶה לָכֶם כְּלֵיל הִתְקַדֶּשׁ־חָג וְשִׂמְחַת לֵבָב כַּהוֹלֵךְ בֶּחָלִיל לָבוֹא בְהַר־יְהוָה אֶל־צוּר יִשְׂרָאֵל׃''. None | 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 |
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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) 390; Bowie (2021) 539
619. εὖτʼ ἂν Πληιάδες σθένος ὄβριμον Ὠαρίωνος'620. φεύγουσαι πίπτωσιν ἐς ἠεροειδέα πόντον, '. None | 619. One’s skin. Bring in your crops and don’t be slow.'620. Rise early to secure your food supply. '. None |
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5. Homer, Iliad, 18.590-18.592, 18.599-18.601 (8th cent. BCE - 7th cent. BCE)
Tagged with subjects: • dance • dance, and Dionysiac cult
Found in books: Clay and Vergados (2022) 67; Horkey (2019) 208; Lyons (1997) 127
18.590. ἐν δὲ χορὸν ποίκιλλε περικλυτὸς ἀμφιγυήεις, 18.591. τῷ ἴκελον οἷόν ποτʼ ἐνὶ Κνωσῷ εὐρείῃ 18.592. Δαίδαλος ἤσκησεν καλλιπλοκάμῳ Ἀριάδνῃ.
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·''. None | 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.
18.599. 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; 18.601. 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 |
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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) 195; Kowalzig (2007) 67
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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) 384; Stavrianopoulou (2006) 64
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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) 47, 162, 167, 291; Panoussi(2019) 215; Peels (2016) 236; Petrovic and Petrovic (2016) 240
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 105. ὦ Σεμέλας τροφοὶ Θῆβαι, word split in text 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 | |
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9. Euripides, Electra, 467 (5th cent. BCE - 5th cent. BCE)
Tagged with subjects: • dance • dance, choral
Found in books: Borg (2008) 389; Horkey (2019) 17, 203, 207, 208
467. ἄστρων τ' αἰθέριοι χοροί,"". None | 467. was shining on winged horses, and the heavenly chorus of stars, Pleiades, Hyades, bringing defeat to the eyes of Hector;''. None |
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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) 275; Cosgrove (2022) 55, 56, 57
| 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 |
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11. Plato, Euthyphro, None (5th cent. BCE - 4th cent. BCE)
Tagged with subjects: • dance, dancing • dances
Found in books: Bernabe et al (2013) 46; Mikalson (2010) 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''. None | 6b. 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 |
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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) 92; Mikalson (2010) 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 '. None | 58a. 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 |
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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) 289; Jouanna (2018) 713
| 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 |
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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) 280, 289, 290; Borg (2008) 389
| 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 |
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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) 289; Jouanna (2018) 713
| 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 |
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16. Xenophon, Symposium, 3.2, 9.7 (5th cent. BCE - 4th cent. BCE)
Tagged with subjects: • Archelaus (dancer) • Xenophon, dancing • dance/dancers, sexual exploitation of • dancing, • erotic dance
Found in books: Bowie (2021) 122; Cosgrove (2022) 156, 165
| 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.
9.7. 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 |
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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) 48, 110, 291; Kowalzig (2007) 115
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18. 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
Found in books: Bernabe et al (2013) 48, 109, 112, 175, 273; Liapis and Petrides (2019) 229; Waldner et al (2016) 58
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19. 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 • 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) 47, 273, 289, 381; Cosgrove (2022) 54, 55; Kowalzig (2007) 113, 115; Liapis and Petrides (2019) 207
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20. 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) 703; Cosgrove (2022) 104, 154; Richlin (2018) 241
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21. None, None, nan (5th cent. BCE - 5th cent. BCE)
Tagged with subjects: • dance, dancing • sikinnis (dance)
Found in books: Bernabe et al (2013) 47; Seaford (2018) 150
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22. 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) 456; Gera (2014) 443, 445
| 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 |
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23. Septuagint, Judith, 15.12 (2nd cent. BCE - 0th cent. CE)
Tagged with subjects: • dance, • song and dance
Found in books: Gera (2014) 161, 229, 446, 447; Rubenstein(1995) 135
| 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 |
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24. 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) 46, 141, 167; de Jáuregui et al. (2011) 270
| 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 |
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25. 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) 263; Richlin (2018) 355
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 | 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 |
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26. 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) 90; Wilson (2010) 188
| 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 |
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27. 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) 14, 49; Kowalzig (2007) 169
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 | 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 |
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28. 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) 185; Csapo (2022) 112
| 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 |
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29. 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) 91; Liapis and Petrides (2019) 342
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 | 8.7. ''. None |
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30. 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) 16, 167, 292; Bowie (2021) 539; Kowalzig (2007) 168, 169; Lyons (1997) 127, 128
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 | 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 |
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31. 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) 175; Tanaseanu-Döbler and von Alvensleben (2020) 63
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 | 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 |
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32. None, None, nan (2nd cent. CE - 2nd cent. CE)
Tagged with subjects: • Bes-figures, dancing • martial dancing/music, Roman era
Found in books: Cosgrove (2022) 255; Griffiths (1975) 182
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33. 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) 14; Kowalzig (2007) 278, 282
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34. 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) 174, 175, 279, 280; Cosgrove (2022) 193; Csapo (2022) 112; Waldner et al (2016) 58
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