BACCARAT, a gambling card-game (origin of name unknown), supposed to have been introduced into France from Italy during the reign of Charles VIII. There are two accepted varieties of the game—baccarat chemin de fer (railway) and baccarat banque (or à deux tableaux). In baccarat chemin de fer six full packs of cards are used. These are shuffled by a croupier and then by any of the players who wish to do so. From three to eleven persons may play. Counters are generally used and are sold by the banker who afterwards redeems them. The croupier takes a number of cards from the top of the pack and passes them to the player on his right (sometimes left) who becomes banker, a position which he holds until he loses, when the deal passes to the player next in order. The other players are called punters. The banker places before him the sum he wishes to stake and the punters do likewise, unless a punter desires to go bank, signifying his intention by saying, Banco! In this case he plays against the entire stake of the banker. After the stakes have been made the dealer deals a card to his right for the punters, then one to himself, then a third to his left for the punters and, finally, another to himself, all face downwards. Court cards and tens count nothing; all others the number of their pips. Each punter looks at his cards, and any one having 8 or 9 turns his card up and announces it, the hand then being at an end. The player having the highest stake plays for both punters, and if the card turned is better than that of the banker, the latter pays each punter the amount of his stake. If not, the banker wins all stakes and the game proceeds as before. If no announcement is made, meaning that neither player holds 8 or 9, the banker deals another card to the player on his right, who, if his first card is 6 or 7, will refuse it, fearing to overrun. The second card is turned face upwards on the table. If his card is 5 he may, or may not, accept the second card, according to his judgment. In case of his refusal the card is offered to the second punter. If the first card is baccarat (i.e. amounts to 0) or 1, 2, 3 or 4, a punter always accepts the second card. The banker then decides whether he will draw another card himself or expose his original ones, and when he has made his play pays or receives according as he wins or loses. Ties neither win nor lose but go over to the next deal. A player who has lost on going bank may go bank again, but no player may go bank more than twice in succession. In the variation baccarat banque (or à deux tableaux), three packs of cards are used and the banker is permanent; the player who offers to risk the largest amount occupying the position. A line is drawn across the table and any one wishing to do so may place his stake à cheval, i.e. on the line. Stakes so placed neither win nor lose if one side wins and the other loses, but win if both sides win and are lost if both sides lose. The laws of baccarat are complicated and no one code is accepted as authoritative, the different clubs making their own rules.
See Badoureau, Étude mathématique sur le jeu de baccarat (Paris, 1881); L. Billard, Bréviaire du baccara expérimental (Paris, 1883).
BACCHANALIA, the Lat. name for the wild and mystic festivals of Bacchus (Dionysus). They were introduced into Rome from lower Italy by way of Etruria, and held in secret, attended by women only, on three days in the year in the grove of Simila (Stimula, Semele; Ovid, Fasti, vi. 503), near the Aventine hill. Subsequently, admission to the rites were extended to men and celebrations took place five times a month. The evil reputation of these festivals, at which the grossest debaucheries took place, and all kinds of crimes and political conspiracies were supposed to be planned, led in 186 B.C. to a decree of the senate—the so-called Senatus consultum de Bacchanalibus, inscribed on a bronze tablet discovered in Calabria (1640), now at Vienna—by which the Bacchanalia were prohibited throughout the whole of Italy, except in certain special cases, in which the senate reserved the right of allowing them, subject to certain restrictions. But, in spite of the severe punishment inflicted upon those who were found to be implicated in the criminal practices disclosed by state investigation, the Bacchanalia were not stamped out, at any rate in the south of Italy, for a very long time (Livy xxxix. 8-19, 41; xl. 19).
BACCHYLIDES, Greek lyric poet, was born at Iulis, in the island of Ceos. His father's name was probably Meidon; his mother was a sister of Simonides, himself a native of Iulis. Eusebius says that Bacchylides "flourished" (ἤκμαζεν) in Ol. 78. 2 (467 B.C.). As the term ἤκμαζεν refers to the physical prime, and was commonly placed at about the fortieth year, we may suppose that Bacchylides was born circa 507 B.C. Among his Odes the earliest that can be approximately dated is xii.,[[1]] which may belong to 481 or 479 B.C.; the latest is vi., of which the date is fixed by the recently found fragment of the Olympic register to Ol. 82. 1 (452 B.C.). He would thus have been some forty-nine years younger than his uncle Simonides, and some fifteen years younger than Pindar. Elsewhere Eusebius states that Bacchylides "was of repute" (ἐγνωρίζετο) in Ol. 87. 2 (431 B.C.); and Georgius Syncellus, using the same word, gives Ol. 88 (428-425 B.C.). The phrase would mean that he was then in the fulness of years and of fame. There is nothing improbable in the supposition that he survived the beginning of the Peloponnesian war.
Bacchylides, like Simonides and Pindar, visited the court of Hiero I. of Syracuse (478-467). In his fifth Ode (476 B.C.), the word ξένος (v. 11) has been taken to mean that he had already been the guest of the prince; and, as Simonides went to Sicily in or about 477 B.C., that is not unlikely. Ode iii. (468 B.C.) was possibly written at Syracuse, as verses 15 and 16 suggest. He there pays a high compliment to Hiero's taste in poetry (ver. 3 ff.). A scholium on Pyth. ii. 90 (166) avers that Hiero preferred the Odes of Bacchylides to those of Pindar. The Alexandrian scholars interpreted a number of passages in Pindar as hostile allusions to Bacchylides or Simonides. If the scholiasts
are right, it would appear that Pindar regarded the younger of the two Cean poets as a jealous rival, who disparaged him to their common patron (schol. Pyth. ii. 52 f.), and as one whose poetical skill was due to study rather than to genius (Ol. ii. 91-110). In Olymp. ii. 96 the dual γαρύετον, if it does not refer to the uncle and nephew, remains mysterious; nor does it admit of probable emendation.[[2]] One would gladly reject this tradition, to which the scholia so frequently refer; yet it would be rash to assume that it rested merely on surmise. The Alexandrians may have possessed evidence on the subject which is now lost. It is tolerably certain that the three poets were visitors at Hiero's court at about the same time: Pindar and Bacchylides wrote odes of the same kind in his honour; and there was a tradition that he preferred the younger poet. There is thus no intrinsic improbability in the hypothesis that Pindar's haughty spirit had suffered, or imagined, some mortification. It is noteworthy that, whereas in 476 and 470 both he and Bacchylides celebrated Hiero's victories, in 468 (the most important occasion of all) Bacchylides alone was commissioned to do so; although in that year Pindar composed an ode (Olymp. vi.) for another Syracusan victor at the same festival. Nor is it difficult to conceive that a despot such as Hiero, whose constitutional position was ill-defined, and who was perhaps all the more exigent of deference on that account, may have found the genial Ionian a more agreeable courtier than Pindar, an aristocrat of the Boeoto-Aeolic type, not unmindful of "his fathers the Aegidae," and rather prone to link the praises of his patron with a lofty intimation of his own claims (see, e.g., Olymp. i. ad fin.). But, whatever may have been the true bearing of Pindar's occasional innuendoes, it is at any rate pleasant to find that in the extant work of Bacchylides there is not the faintest semblance of hostile allusion to any rival. Nay, one might almost imagine a compliment to Pindar, when, in mentioning Hesiod, he calls him Βοιωτὸς ἀνήρ.
Plutarch (de Exilio, p. 605 c) names Bacchylides in a list of writers, who after they had been banished from their native cities, were active and successful in literature. It was Peloponnesus that afforded a new home to the exiled poet. The passage gives no clue to date or circumstance; but it implies that Peloponnesus was the region where the poet's genius ripened and where he did the work which established his fame. This points to a residence of considerable length; and it may be noted that some of the poems illustrate their author's intimate knowledge of Peloponnesus. Thus in Ode viii., for Automedes of Phlius, he draws on the legends connected with the Phliasian river Asopus. In Ode x., starting from the Argive legend of Proetus and Acrisius, he tells how the Arcadian cult of Artemis Ἡμέρα was founded. In one of his dithyrambs (xix.) he treated the legend of Idas (a Messenian hero) and Marpessa in the form of a hymenaeus sung by maidens of Sparta.
The Alexandrian scholars, who drew up select lists of the best writers in each kind, included Bacchylides in their "canon" of the nine lyric poets, along with Alcman, Sappho, Alcaeus, Stesichorus, Ibycus, Anacreon, Simonides and Pindar. The Alexandrian grammarian Didymus (circ. 30 B.C.) wrote a commentary on the epinikian odes of Bacchylides. Horace, a poet in some respects of kindred genius, was a student of his works, and imitated him (according to Porphyrion) in Odes, i. 15, where Nereus predicts the destruction of Troy. Quotations from Bacchylides, or references to him, occur in Dionysius of Halicarnassus, Strabo, Plutarch, Stobaeus, Athenaeus, Aulus Gellius, Zenobius, Hephaestion, Clement of Alexandria, and various grammarians or scholiasts. Ammianus Marcellinus (xxv. 4) says that the emperor Julian enjoyed reading Bacchylides. It is clear, then, that this poet continued to be popular during at least the first four centuries of our era. No inference adverse to his repute can fairly be drawn from the fact that no mention of him occurs in the extant work of any Attic writer. The only definite estimate of him by an ancient critic occurs in the treatise Περὶ Ὕψους commonly translated "On the Sublime," but meaning rather, "On the Sources of Elevation in Style"; a work ambiguously ascribed to Cassius Longinus (circ. A.D. 260), but more probably due to some writer of the first century of our era. In chapter xxxiii. of that treatise, the author asks whether we ought to prefer "greatness" in literature, with some attendant faults, to flawless merit on a lower level, and of course replies in the affirmative. In tragedy, he asks, who would be Ion of Chios rather than Sophocles; or in lyric poetry, Bacchylides rather than Pindar? Yet Bacchylides and Ion are "faultless, with a style of perfect elegance and finish." In short, the essayist regards Bacchylides as a thoroughly finished poet of the second class, who never commits glaring faults, but never reaches the loftier heights.
The first and most general quality of style in Bacchylides is his perfect simplicity and clearness. Where the text is not corrupt, there are few sentences which are not lucid in meaning and simple in structure. This lucidity is partly due, no doubt, to the fact that he seldom attempts imagery of the bolder kind, and never has thoughts of a subtle or complex order. Yet it would be very unjust to regard such clearness as merely a compensatory merit of lyric mediocrity, or to ignore its intimate connexion with the man's native grace of mind, with the artist's feeling for expression, with the poet's delicate skill. How many readers, who could enjoy and appreciate Pindar if he were less difficult, are stopped on the threshold by the aspect of his style, and are fain to save their self-esteem by concluding that he is at once turgid and shallow! A pellucid style must always have been a source of wide, though modest, popularity for Bacchylides. If it be true that Hiero preferred him to Pindar, and that he was a favourite with Julian, those instances suggest the charm which he must always have had for cultivated readers to whom affairs did not leave much leisure for study, and who rejoiced in a poet with whom they could live on such easy terms.
Another prominent trait in the style of Bacchylides is his love of picturesque detail. This characteristic marks the fragment by which, before the discovery of the 1896 MS., he was best known—a passage, from one of his paeans, on the blessings of peace (fr. 13, Bergk, 3, Jebb); and it frequently appears in the Odes, especially in the mythical narratives. Greater poets can make an image flash upon the mind, as Pindar sometimes does, by a magic phrase, or by throwing one or two salient points into strong relief. The method of Bacchylides is usually quieter; he paints cabinet pictures. Observation and elegance do more for him than grasp or piercing insight; but his work is often of very high excellence in its own kind. His treatment of simile is only a special phase of this general tendency. It is exemplified by the touches with which he elaborates the simile of the eagle in Ode v., and that of the storm-tossed mariners in Ode xii. This full development of simile is Homeric in manner, but not Homeric in motive: Homer's aim is vividness; Bacchylides is rather intent on the decorative value of the details themselves. There are occasional flashes of brilliancy in his imagery, when it is lit up by his keen sense of beauty or splendour in external nature. A radiance, "as of fire," streams from the forms of the Nereids (xvi. 103 ff.). An athlete shines out among his fellows like "the bright moon of the mid-month night" among the stars (viii. 27 ff.). The sudden gleam of hope which comes to the Trojans by the withdrawal of Achilles is like a ray of sunshine "from beneath the edge of a storm-cloud" (xii. 105 ff.). The shades of the departed, as seen by Heracles on the banks of the Cocytus, are compared to the countless leaves fluttering in the wind on "the gleaming headlands of Ida" (v. 65 ff.)—an image not unworthy of Dante or of Milton.