Don't let your gown fall down too low,
Nor pull it up too high to show
Your legs in clownish fashion.

And Hermippus says, that Theocritus of Chios used to blame the way in which Anaximenes used to wrap his cloak round him as a boorish style of dressing. And Callistratus the pupil of Aristophanes, in one of his writings, attacked Aristarchus severely for not being neatly dressed, on the ground, that attention to those minutiæ is no trifling indication of a man's abilities and good sense. On which account Alexis says—

'Tis a sure sign of a degraded nature,
To walk along the street in sloven's guise;
Having the means of neatness: which costs nothing;

[[35]] Is subject to no tax; requires no change;
And creditable is to him who uses it,
And pleasant to all those who witness it.
Who then would ever disregard this rule,
That wishes to be thought a man of sense?

39. But Æschylus was not only the inventor of becoming and dignified dress, which the hierophants and torch-bearers of the sacred festivals imitated; but he also invented many figures in dancing, and taught them to the dancers of the chorus. And Chamæleon states that he first arranged the choruses, not using the ordinary dancing-masters, but himself arranging the figures of the dancers for the chorus; and altogether that he took the whole arrangement of his tragedies on himself. And he himself acted in his own plays very fairly. And accordingly, Aristophanes (and we may well trust the comic writers in what they say of the tragedians) represents Æschylus himself as saying—

I myself taught those dances to the chorus,
Which pleased so much when erst they danced before us.

And again, he says, "I recollect that when I saw 'The Phrygians,' when the men came on who were uniting with Priam in his petition for the ransom of his son, some danced in this way, some in that, all at random." Telesis, or Telestes, (whichever was his right name,) the dancing-master, invented many figures, and taught men to use the action of their hands, so as to give expression to what they said. Phillis the Delian, a musician, says, that the ancient harp-players moved their countenances but little, but their feet very much, imitating the march of troops or the dancing of a chorus. Accordingly Aristotle says, that Telestes the director of Æschylus's choruses was so great a master of his art, that in managing the choruses of the Seven Generals against Thebes, he made all the transactions plain by dancing. They say, too, that the old poets, Thespis, Pratinas, Carcinus, and Phrynichus, were called dancing poets, because they not only made their dramas depend upon the dancing of the chorus, but because, besides directing the exhibition of their own plays, they also taught dancing to all who wished to learn. But Æschylus was often drunk when he wrote his tragedies, if we may trust Chamæleon: and accordingly Sophocles reproached him, saying, that even when he did what was right he did not know that he was doing so.

[[36]] 40. Now the national dances are the following:—the Lacedæmonian, the Trœzenian, the Epizephyrian, the Cretan, the Ionian, the Mantinean, which Aristoxenus considers as the best of all, on account of its movement of the hands. And dancing was considered so creditable an employment, and one requiring so much talent, that Pindar calls Apollo a dancer:—

Prince of dancers, prince of grace,
Hail, Phœbus of the silver quiver.

And Homer too, or one of the Homeridæ, in one of the hymns to Apollo, says—