Cicero, Tuscul. Qu. ii, 16. “Spartiatarum quorum procedit Mora ad tibiam, neque adhibetur ulla sine anapæstis pedibus hortatio.”
The flute was also the instrument appropriated to Kômus, or the excited movement of half-intoxicated revellers (Hesiod. Scut. Hercul. 280; Athenæ. xiv, pp. 617-618).
[158] Plato, Legg. vii, p. 803. θύοντα καὶ ᾅδοντα καὶ ὀρχούμενον, ὥστε τοὺς μὲν θεοὺς ἱλέως αὑτῷ παρασκευάζειν δυνατὸν εἶναι, etc.: compare p. 799; Maximus Tyr. Diss. xxxvii, 4: Aristophan. Ran. 950-975; Athenæus, xiv, p. 626; Polyb. iv, 30; Lucian, De Saltatione, c. 10, 11, 16, 31.
Compare Aristotle (Problem xix, 15) about the primitive character and subsequent change of the chorus; and the last chapter of the eighth book of his Politica: also, a striking passage in Plutarch (De Cupidine Divitiarum, c. 8, p. 527) about the transformation of the Dionysiac festival at Chæroneia from simplicity to costliness.
[159] Athenæus, xiv, p. 628; Suidas, vol. iii, p. 715, ed. Kuster; Plutarch, Instituta Laconica, c. 32,—κωμῳδίας καὶ τραγῳδίας οὐκ ἠκρόωντο, ὅπως μήτε ἐν σπουδῇ, μήτε ἐν παιδίᾳ, ἀκούωσι τῶν ἀντιλεγόντων τοῖς νόμοις,—which exactly corresponds with the ethical view implied in the alleged conversation between Solon and Thespis (Plutarch, Solon, c. 29: see above, ch. xi, vol. ii, p. 195), and with Plato, Legg. vii, p. 817.
[160] Xenophon, Agesilaus ii, 17. οἴκαδε ἀπελθὼν εἰς τὰ Ὑακίνθια, ὅπου ἐτάχθη ὑπὸ τοῦ χοροποιοῦ, τὸν παιᾶνα τῷ θεῷ συνεπετέλει.
[161] Plutarch, Lykurg. c. 14, 16, 21: Athenæus, xiv, pp. 631-632, xv, p. 678; Xenophon, Hellen. vi, 4, 15; De Republic. Lacedæm. ix, 5; Pindar, Hyporchemata, Fragm. 78, ed. Bergk.
Λάκαινα μὲν παρθένων ἀγέλα.
Also, Alkman, Fragm. 13, ed. Bergk; Antigon. Caryst. Hist. Mirab. c. 27.
[162] How extensively pantomimic the ancient orchêsis was, may be seen by the example in Xenophon, Symposion, vii, 5, ix, 3-6, and Plutarch, Symposion, ix, 15, 2: see K. F. Hermann, Lehrbuch der gottesdienstlichen Alterthümer der Griechen, ch. 29.