The Ancient Mediterranean Religions Index Database

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Please note: the results are produced through a computerized process which may frequently lead to errors, both in incorrect tagging and in other issues. Please use with caution.
Due to load times, full text fetching is currently attempted for validated results only.
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
dithyramb	Athanassaki and Titchener (2022), Plutarch's Cities, 4, 89, 90, 92, 94, 99 Bernabe et al. (2013), Redefining Dionysos, 12, 39, 60, 74, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 93, 94, 95, 96, 97, 176, 351 Bowie (2023), Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels. 54, 61, 74, 202, 204, 213, 218, 279, 428 Cairns (1989), Virgil's Augustan Epic. 102 Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 4, 11, 17, 19, 20, 45, 80, 81 Gagne (2021), Cosmography and the Idea of Hyperborea in Ancient Greece, 184 Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 40, 48, 50, 51, 52, 53, 161 Humphreys (2018), Kinship in Ancient Athens: An Anthropological Analysis, 561, 748 Kingsley Monti and Rood (2022), The Authoritative Historian: Tradition and Innovation in Ancient Historiography, 198 Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 329, 395 Seaford (2018), Tragedy, Ritual and Money in Ancient Greece: Selected Essays, 167, 171, 181, 182, 336
dithyramb, and consolidiation of a citizen body	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 170, 385
dithyramb, argos, social integration in the	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 168, 169, 170
dithyramb, at argos	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 161, 168, 169, 170
dithyramb, chios	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 101
dithyramb, choregos	Humphreys (2018), Kinship in Ancient Athens: An Anthropological Analysis, 766, 1019, 1024
dithyramb, contests	Barbato (2020), The Ideology of Democratic Athens: Institutions, Orators and the Mythical Past, 26, 27, 37
dithyramb, contests at athens	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 70
dithyramb, cyclops	Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 32
dithyramb, hermione	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 151
dithyramb, history and characteristics	Barbato (2020), The Ideology of Democratic Athens: Institutions, Orators and the Mythical Past, 34, 35
dithyramb, korinth	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 169
dithyramb, language of	Seaford (2018), Tragedy, Ritual and Money in Ancient Greece: Selected Essays, 157
dithyramb, name	Barbato (2020), The Ideology of Democratic Athens: Institutions, Orators and the Mythical Past, 34
dithyramb, on delos	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 57
dithyramb, periphrasis in	Seaford (2018), Tragedy, Ritual and Money in Ancient Greece: Selected Essays, 158
dithyramb, s. italy	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 322
dithyramb, social change, danced in the	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 168, 169, 170, 385
dithyramb, thebes	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 385
dithyramb, themes	Barbato (2020), The Ideology of Democratic Athens: Institutions, Orators and the Mythical Past, 35
dithyramb/dithyrambic, choruses/contests	Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 27, 28, 59, 153, 156, 166, 168, 173, 174, 175, 179, 206, 209, 215, 229, 257
dithyrambic, poet, philoxenus	Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 59, 229
dithyrambic, poet, polyxenus	Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 215
dithyrambic, polyxenus, poet, heraclea	Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 193
dithyrambic, polyxenus, poet, olbia	Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 193
dithyrambs, and encomia, bacchylides	Johnson and Parker (2009), ?Ancient Literacies: The Culture of Reading in Greece and Rome, 257
dithyrambs, likymnios, chian poet of	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 101
dithyrambs, songs and music	Eidinow and Kindt (2015), The Oxford Handbook of Ancient Greek Religion, 179, 180, 181, 182

List of validated texts:

9 validated results for "dithyramb"

1. None, None, nan (8th cent. BCE - 7th cent. BCE)
Tagged with subjects: • dithyramb

Found in books: Bowie (2023), Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels. 54; Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 17

2. None, None, nan (6th cent. BCE - 5th cent. BCE)
Tagged with subjects: • dithyramb • dithyramb, on Delos

Found in books: Bernabe et al. (2013), Redefining Dionysos, 87; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 57

3. Euripides, Bacchae, 115, 123-134, 156-157, 536, 725-726 (5th cent. BCE - 5th cent. BCE)
Tagged with subjects: • Dionysos, Dionysos Dithyrambos • Dionysos, Dithyrambos • dithyramb • dithyramb, language of • dithyramb/dithyrambic choruses/contests

Found in books: Bernabe et al. (2013), Redefining Dionysos, 47, 350; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 27, 257; Seaford (2018), Tragedy, Ritual and Money in Ancient Greece: Selected Essays, 157, 171, 182, 336

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115 Βρόμιος ὅστις ἄγῃ θιάσουσ—¹²³ ἔνθα τρικόρυθες ἄντροις ¹²⁴ βυρσότονον κύκλωμα τόδε ¹²⁵ μοι Κορύβαντες ηὗρον· ¹²⁶ βακχείᾳ δʼ ἀνὰ συντόνῳ ¹²⁷ κέρασαν ἁδυβόᾳ Φρυγίων ¹²⁸ αὐλῶν πνεύματι ματρός τε Ῥέας ἐς ¹²⁹ χέρα θῆκαν, κτύπον εὐάσμασι Βακχᾶν· ¹³⁰ παρὰ δὲ μαινόμενοι Σάτυροι ¹³¹ ματέρος ἐξανύσαντο θεᾶς, ¹³² ἐς δὲ χορεύματα ¹³³ συνῆψαν τριετηρίδων, ¹³⁴ αἷς χαίρει Διόνυσος. Χορός' '¹⁵⁷ βαρυβρόμων ὑπὸ τυμπάνων, ⁵³⁶ ἔτι σοι τοῦ Βρομίου μελήσει. Χορός ⁷²⁵ Ἴακχον ἀθρόῳ στόματι τὸν Διὸς γόνον ⁷²⁶ Βρόμιον καλοῦσαι· πᾶν δὲ συνεβάκχευʼ ὄρος ' None

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115 whoever leads the sacred band is Bromius—to the mountain, to the mountain, where the crowd of women waits, goaded away from their weaving by Dionysus. Choru¹²³ 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 ¹⁵⁶ ing of Dionysus, beneath the heavy beat of drums, celebrating in delight the god of delight with Phrygian shouts and cries, ⁵³⁶ delight of Dionysus’ vine that you will have a care for Bromius. Choru ⁷²⁵ calling on Iacchus, the son of Zeus, Bromius, with united voice. The whole mountain revelled along with them and the beasts, and nothing was unmoved by their running. Agave happened to be leaping near me, and I sprang forth, wanting to snatch her, ' None

4. Herodotus, Histories, 1.23-1.24, 5.67 (5th cent. BCE - 5th cent. BCE)
Tagged with subjects: • Argos, social integration in the dithyramb • dithyramb • dithyramb, • dithyramb, and consolidiation of a citizen body • dithyramb, at Argos • dithyramb, history and characteristics • dithyramb, themes • social change, danced in the dithyramb

Found in books: Barbato (2020), The Ideology of Democratic Athens: Institutions, Orators and the Mythical Past, 35; Bowie (2021), Essays on Ancient Greek Literature and Culture, 596; Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 17; Humphreys (2018), Kinship in Ancient Athens: An Anthropological Analysis, 561; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 170

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1.23 Περίανδρος δὲ ἦν Κυψέλου παῖς οὗτος ὁ τῷ Θρασυβούλῳ τὸ χρηστήριον μηνύσας· ἐτυράννευε δὲ ὁ Περίανδρος Κορίνθου· τῷ δὴ λέγουσι Κορίνθιοι ʽὁμολογέουσι δέ σφι Λέσβιοἰ ἐν τῷ βίῳ θῶμα μέγιστον παραστῆναι, Ἀρίονα τὸν Μηθυμναῖον ἐπὶ δελφῖνος ἐξενειχθέντα ἐπὶ Ταίναρον, ἐόντα κιθαρῳδὸν τῶν τότε ἐόντων οὐδενὸς δεύτερον, καὶ διθύραμβον πρῶτον ἀνθρώπων τῶν ἡμεῖς ἴδμεν ποιήσαντά τε καὶ ὀνομάσαντα καὶ διδάξαντα ἐν Κορίνθῳ. ^1.24 τοῦτον τὸν Ἀρίονα λέγουσι, τὸν πολλὸν τοῦ χρόνου διατρίβοντα παρὰ Περιάνδρῳ ἐπιθυμῆσαι πλῶσαι ἐς Ἰταλίην τε καὶ Σικελίην, ἐργασάμενον δὲ χρήματα μεγάλα θελῆσαι ὀπίσω ἐς Κόρινθον ἀπικέσθαι. ὁρμᾶσθαι μέν νυν ἐκ Τάραντος, πιστεύοντα δὲ οὐδαμοῖσι μᾶλλον ἢ Κορινθίοισι μισθώσασθαι πλοῖον ἀνδρῶν Κορινθίων. τοὺς δὲ ἐν τῷ πελάγεϊ ἐπιβουλεύειν τὸν Ἀρίονα ἐκβαλόντας ἔχειν τὰ χρήματα. τὸν δὲ συνέντα τοῦτο λίσσεσθαι, χρήματα μὲν σφι προϊέντα, ψυχὴν δὲ παραιτεόμενον. οὔκων δὴ πείθειν αὐτὸν τούτοισι, ἀλλὰ κελεύειν τοὺς πορθμέας ἢ αὐτὸν διαχρᾶσθαί μιν, ὡς ἂν ταφῆς ἐν γῇ τύχῃ, ἢ ἐκπηδᾶν ἐς τὴν θάλασσαν τὴν ταχίστην· ἀπειληθέντα δὴ τὸν Ἀρίονα ἐς ἀπορίην παραιτήσασθαι, ἐπειδή σφι οὕτω δοκέοι, περιιδεῖν αὐτὸν ἐν τῇ σκευῇ πάσῃ στάντα ἐν τοῖσι ἑδωλίοισι ἀεῖσαι· ἀείσας δὲ ὑπεδέκετο ἑωυτὸν κατεργάσασθαι. καὶ τοῖσι ἐσελθεῖν γὰρ ἡδονὴν εἰ μέλλοιεν ἀκούσεσθαι τοῦ ἀρίστου ἀνθρώπων ἀοιδοῦ, ἀναχωρῆσαι ἐκ τῆς πρύμνης ἐς μέσην νέα. τὸν δὲ ἐνδύντα τε πᾶσαν τὴν σκευὴν καὶ λαβόντα τὴν κιθάρην, στάντα ἐν τοῖσι ἑδωλίοισι διεξελθεῖν νόμον τὸν ὄρθιον, τελευτῶντος δὲ τοῦ νόμου ῥῖψαί μιν ἐς τὴν θάλασσαν ἑωυτὸν ὡς εἶχε σὺν τῇ σκευῇ πάσῃ. καὶ τοὺς μὲν ἀποπλέειν ἐς Κόρινθον, τὸν δὲ δελφῖνα λέγουσι ὑπολαβόντα ἐξενεῖκαι ἐπὶ Ταίναρον. ἀποβάντα δέ αὐτὸν χωρέειν ἐς Κόρινθον σὺν τῇ σκευῇ, καὶ ἀπικόμενον ἀπηγέεσθαι πᾶν τὸ γεγονός. Περίανδρον δὲ ὑπὸ ἀπιστίης Ἀρίονα μὲν ἐν φυλακῇ ἔχειν οὐδαμῇ μετιέντα, ἀνακῶς δὲ ἔχειν τῶν πορθμέων. ὡς δὲ ἄρα παρεῖναι αὐτούς, κληθέντας ἱστορέεσθαι εἴ τι λέγοιεν περὶ Ἀρίονος. φαμένων δὲ ἐκείνων ὡς εἴη τε σῶς περὶ Ἰταλίην καί μιν εὖ πρήσσοντα λίποιεν ἐν Τάραντι, ἐπιφανῆναί σφι τὸν Ἀρίονα ὥσπερ ἔχων ἐξεπήδησε· καὶ τοὺς ἐκπλαγέντας οὐκ ἔχειν ἔτι ἐλεγχομένους ἀρνέεσθαι. ταῦτα μέν νυν Κορίνθιοί τε καὶ Λέσβιοι λέγουσι, καὶ Ἀρίονος ἐστὶ ἀνάθημα χάλκεον οὐ μέγα ἐπὶ Ταινάρῳ, ἐπὶ δελφῖνος ἐπὲων ἄνθρωπος. ^5.67 ταῦτα δέ, δοκέειν ἐμοί, ἐμιμέετο ὁ Κλεισθένης οὗτος τὸν ἑωυτοῦ μητροπάτορα Κλεισθένεα τὸν Σικυῶνος τύραννον. Κλεισθένης γὰρ Ἀργείοισι πολεμήσας τοῦτο μὲν ῥαψῳδοὺς ἔπαυσε ἐν Σικυῶνι ἀγωνίζεσθαι τῶν Ὁμηρείων ἐπέων εἵνεκα, ὅτι Ἀργεῖοί τε καὶ Ἄργος τὰ πολλὰ πάντα ὑμνέαται· τοῦτο δέ, ἡρώιον γὰρ ἦν καὶ ἔστι ἐν αὐτῇ τῇ ἀγορῇ τῶν Σικυωνίων Ἀδρήστου τοῦ Ταλαοῦ, τοῦτον ἐπεθύμησε ὁ Κλεισθένης ἐόντα Ἀργεῖον ἐκβαλεῖν ἐκ τῆς χώρης. ἐλθὼν δὲ ἐς Δελφοὺς ἐχρηστηριάζετο εἰ ἐκβάλοι τὸν Ἄδρηστον· ἡ δὲ Πυθίη οἱ χρᾷ φᾶσα Ἄδρηστον μὲν εἶναι Σικυωνίων βασιλέα, κεῖνον δὲ λευστῆρα. ἐπεὶ δὲ ὁ θεὸς τοῦτό γε οὐ παρεδίδου, ἀπελθὼν ὀπίσω ἐφρόντιζε μηχανὴν τῇ αὐτὸς ὁ Ἄδρηστος ἀπαλλάξεται. ὡς δέ οἱ ἐξευρῆσθαι ἐδόκεε, πέμψας ἐς Θήβας τὰς Βοιωτίας ἔφη θέλειν ἐπαγαγέσθαι Μελάνιππον τὸν Ἀστακοῦ· οἱ δὲ Θηβαῖοι ἔδοσαν. ἐπαγαγόμενος δὲ ὁ Κλεισθένης τὸν Μελάνιππον τέμενός οἱ ἀπέδεξε ἐν αὐτῷ τῷ πρυτανηίῳ καί μιν ἵδρυσε ἐνθαῦτα ἐν τῷ ἰσχυροτάτῳ. ἐπηγάγετο δὲ τὸν Μελάνιππον ὁ Κλεισθένης ʽ καὶ γὰρ τοῦτο δεῖ ἀπηγήσασθαἰ ὡς ἔχθιστον ἐόντα Ἀδρήστῳ, ὃς τόν τε ἀδελφεόν οἱ Μηκιστέα ἀπεκτόνεε καὶ τὸν γαμβρὸν Τυδέα. ἐπείτε δέ οἱ τὸ τέμενος ἀπέδεξε, θυσίας τε καὶ ὁρτὰς Ἀδρήστου ἀπελόμενος ἔδωκε τῷ Μελανίππῳ. οἱ δὲ Σικυώνιοι ἐώθεσαν μεγαλωστὶ κάρτα τιμᾶν τὸν Ἄδρηστον· ἡ γὰρ χώρη ἦν αὕτη Πολύβου, ὁ δὲ Ἄδρηστος ἦν Πολύβου θυγατριδέος, ἄπαις δὲ Πόλυβος τελευτῶν διδοῖ Ἀδρήστῳ τὴν ἀρχήν. τά τε δὴ ἄλλα οἱ Σικυώνιοι ἐτίμων τὸν Ἄδρηστον καὶ δὴ πρὸς τὰ πάθεα αὐτοῦ τραγικοῖσι χοροῖσι ἐγέραιρον, τὸν μὲν Διόνυσον οὐ τιμῶντες, τὸν δὲ Ἄδρηστον. Κλεισθένης δὲ χοροὺς μὲν τῷ Διονύσῳ ἀπέδωκε, τὴν δὲ ἄλλην θυσίην Μελανίππῳ.'' None

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1.23 Periander, who disclosed the oracle's answer to Thrasybulus, was the son of Cypselus, and sovereign of Corinth . The Corinthians say (and the Lesbians agree) that the most marvellous thing that happened to him in his life was the landing on Taenarus of Arion of Methymna, brought there by a dolphin. This Arion was a lyre-player second to none in that age; he was the first man whom we know to compose and name the dithyramb which he afterwards taught at Corinth . " "^1.24 They say that this Arion, who spent most of his time with Periander, wished to sail to Italy and Sicily, and that after he had made a lot of money there he wanted to come back to Corinth . ,Trusting none more than the Corinthians, he hired a Corinthian vessel to carry him from Tarentum . But when they were out at sea, the crew plotted to take Arion's money and cast him overboard. Discovering this, he earnestly entreated them, asking for his life and offering them his money. ,But the crew would not listen to him, and told him either to kill himself and so receive burial on land or else to jump into the sea at once. ,Abandoned to this extremity, Arion asked that, since they had made up their minds, they would let him stand on the half-deck in all his regalia and sing; and he promised that after he had sung he would do himself in. ,The men, pleased at the thought of hearing the best singer in the world, drew away toward the waist of the vessel from the stern. Arion, putting on all his regalia and taking his lyre, stood up on the half-deck and sang the “Stirring Song,” and when the song was finished he threw himself into the sea, as he was with all his regalia. ,So the crew sailed away to Corinth ; but a dolphin (so the story goes) took Arion on his back and bore him to Taenarus. Landing there, he went to Corinth in his regalia, and when he arrived, he related all that had happened. ,Periander, skeptical, kept him in confinement, letting him go nowhere, and waited for the sailors. When they arrived, they were summoned and asked what news they brought of Arion. While they were saying that he was safe in Italy and that they had left him flourishing at Tarentum, Arion appeared before them, just as he was when he jumped from the ship; astonished, they could no longer deny what was proved against them. ,This is what the Corinthians and Lesbians say, and there is a little bronze memorial of Arion on Taenarus, the figure of a man riding upon a dolphin. " "^5.67 In doing this, to my thinking, this Cleisthenes was imitating his own mother's father, Cleisthenes the tyrant of Sicyon, for Cleisthenes, after going to war with the Argives, made an end of minstrels' contests at Sicyon by reason of the Homeric poems, in which it is the Argives and Argos which are primarily the theme of the songs. Furthermore, he conceived the desire to cast out from the land Adrastus son of Talaus, the hero whose shrine stood then as now in the very marketplace of Sicyon because he was an Argive. ,He went then to Delphi, and asked the oracle if he should cast Adrastus out, but the priestess said in response: “Adrastus is king of Sicyon, and you but a stone thrower.” When the god would not permit him to do as he wished in this matter, he returned home and attempted to devise some plan which might rid him of Adrastus. When he thought he had found one, he sent to Boeotian Thebes saying that he would gladly bring Melanippus son of Astacus into his country, and the Thebans handed him over. ,When Cleisthenes had brought him in, he consecrated a sanctuary for him in the government house itself, where he was established in the greatest possible security. Now the reason why Cleisthenes brought in Melanippus, a thing which I must relate, was that Melanippus was Adrastus' deadliest enemy, for Adrastus had slain his brother Mecisteus and his son-in-law Tydeus. ,Having then designated the precinct for him, Cleisthenes took away all Adrastus' sacrifices and festivals and gave them to Melanippus. The Sicyonians had been accustomed to pay very great honor to Adrastus because the country had once belonged to Polybus, his maternal grandfather, who died without an heir and bequeathed the kingship to him. ,Besides other honors paid to Adrastus by the Sicyonians, they celebrated his lamentable fate with tragic choruses in honor not of Dionysus but of Adrastus. Cleisthenes, however, gave the choruses back to Dionysus and the rest of the worship to Melanippus. "" None

5. Plato, Laws, None (5th cent. BCE - 4th cent. BCE)
Tagged with subjects: • dithyramb • dithyramb, language of

Found in books: Bernabe et al. (2013), Redefining Dionysos, 351; Seaford (2018), Tragedy, Ritual and Money in Ancient Greece: Selected Essays, 157

^700b ἑαυτῆς ἄττα καὶ σχήματα, καί τι ἦν εἶδος ᾠδῆς εὐχαὶ πρὸς θεούς, ὄνομα δὲ ὕμνοι ἐπεκαλοῦντο· καὶ τούτῳ δὴ τὸ ἐναντίον ἦν ᾠδῆς ἕτερον εἶδος—θρήνους δέ τις ἂν αὐτοὺς μάλιστα ἐκάλεσεν—καὶ παίωνες ἕτερον, καὶ ἄλλο, Διονύσου γένεσις οἶμαι, διθύραμβος λεγόμενος. νόμους τε αὐτὸ τοῦτο τοὔνομα ἐκάλουν, ᾠδὴν ὥς τινα ἑτέραν· ἐπέλεγον δὲ κιθαρῳδικούς. τούτων δὴ διατεταγμένων καὶ ἄλλων τινῶν, οὐκ ἐξῆν ἄλλο'' None

^700b one class of song was that of prayers to the gods, which bore the name of hymns ; contrasted with this was another class, best called dirges ; paeans formed another; and yet another was the dithyramb, named, I fancy, after Dionysus. Nomes also were so called as being a distinct class of song; and these were further described as citharoedic nomes. So these and other kinds being classified and fixed, it was forbidden to set one kind of words to a different class of tune.'' None

6. None, None, nan (4th cent. BCE - 4th cent. BCE)
Tagged with subjects: • dithyramb • dithyramb, language of

Found in books: Bowie (2023), Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels. 428; Seaford (2018), Tragedy, Ritual and Money in Ancient Greece: Selected Essays, 157

7. Epigraphy, Ig Ii2, 3092
Tagged with subjects: • dithyramb, contests • dithyramb/dithyrambic choruses/contests

Found in books: Barbato (2020), The Ideology of Democratic Athens: Institutions, Orators and the Mythical Past, 27; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 27

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3092 A Front Left Mnesistratos son of Misgon (and) Diopeithes son of Diodoros were sponsors (echorēgon), Dikaiogenes was director (edidasken). A Front Right Mnesimachos son of Mnesistratos (and) Theotimos son of Diotimos were sponsors (echorēgon), Ariphron was director (edidasken), Polychares son of Komon was director (edidasken). B Right Side Theotimos son of Diotimos, Mnesi- . . . were sponsors (echorēgon), Thersandros was director (edidasken). text from Attic Inscriptions Online, IG II²
3092 - Choregic dedication (Acharnai) '' None

8. None, None, nan
Tagged with subjects: • dithyramb • dithyramb, contests • dithyramb, history and characteristics • dithyramb, themes

Found in books: Barbato (2020), The Ideology of Democratic Athens: Institutions, Orators and the Mythical Past, 35, 37; Bernabe et al. (2013), Redefining Dionysos, 85, 91, 94, 95, 96, 97

9. None, None, nan
Tagged with subjects: • dithyramb • dithyramb/dithyrambic choruses/contests

Found in books: Csapo et al. (2022), Theatre and Autocracy in the Ancient World, 45; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 166

Please note: the results are produced through a computerized process which may frequently lead to errors, both in incorrect tagging and in other issues. Please use with caution.
Due to load times, full text fetching is currently attempted for validated results only.
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.

Tiresias: The Ancient Mediterranean Religions Source Database