Greek Dancing Girl
(Hope)
The Greeks also conceived of dancing in another fashion from ours, for they had introduced into it number and measure, which in art are a manifestation of beauty, but no longer remain so when whirling speed is substituted for grace. With them the dance formed part of their religious solemnities and military education. “The ancients,” says Plato in the Seventh Book of the Laws, “have bequeathed us a great number of beautiful dances.” In the Dorian cities dancing was one of the necessary rites in the worship of Apollo, and the gravest people participated. Theseus, returning from Crete, danced the γέρανος in the holy island of Delos, to celebrate his victory over the Minotaur; and the Spartans, in annual commemoration of their triumph over the people of Thyrea danced the γυμνοπαιδια before the images of Apollo, Diana, and Latona, singing verses of Aleman and the Cretan Thaletas. The Bacchic dances, with thyrsi and lighted torches, were a mimic representation of the life of Dionysus.
In the neighbourhood of Eleusis was to be seen the fountain of beautiful dances, Callichorum, where the initiated chanted the invocation to Iacchus as they danced: “O adored god, approach at our voice. Iacchus! Iacchus! come and dance the sacred thiasus in this meadow, thy well-beloved home; strike the ground with a bold foot and mingle in our free and joyous dances, inspired by the graces who rule our consecrated chorus.”
Plato, in his treatise on “Law,” which is a kind of commentary on Athenian legislation and customs, attaches extreme importance, even for the moral education of youth, to the possession by the ephebi of the “art of choruses,” which includes song and dance.
We may well believe that demoralising dances existed in Ionia and elsewhere. At Sparta and Athens the Pyrrhic dance was a military exercise and a patriotic training. The ephebi danced them at the greater and lesser Panathenæa, imitating all the movements of a combat for attack, defence, or the evasion of darts. And was not the heroic circle of the Suliote women a recollection of these warlike dances? Having taken refuge on the summit of a mountain to escape a harem or the yataghan of the Turks, they sang their funeral hymn, joined hands and danced on this narrow peak, which was surrounded by precipices. Each time that the ring approached the abyss, the circle was narrowed, for one of their number detached herself from it to fling herself down; and one after another, all threw themselves over.
THE ARTISTS OF THE OTHER CITIES OF HELLAS
[460-410 B.C.]