DITHYRAMBIC See also:

• POETRY

POETRY  , the description of See also:

• POETRY

poetry in which the See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of the dithyramb is preserved . It remains quite uncertain what the derivation or even the See also:

• PRIMITIVE

primitive meaning of the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek word &Obpayi3os is, although many conjectures have been attempted . It was, however, connected from earliest times with the choral See also:

• WORSHIP (i.e. " worth-ship," O. Eng. weor8scipe)

worship of See also:

• DIONYSUS (probably = " son of Zeus," from & Os and vv(7os, a Thracian word for " son ")

Dionysus . A dithyramb is defined by See also:

• GROTE, GEORGE (1794–1871)

Grote as a See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round choric See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

dance and See also:

• SONG

song in See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour of the See also:

• WINE (Lat. vinum, Gr. oivos)

wine-See also:

• GOD

god . The earliest dithyrambic poetry was probably improvised by priests of Bacchus at See also:

• SOLEMN (Lat. sollemnis, sollemnis, less correctly solennis, yearly, annual; from sollus = totus, whole, entire, Gr. Mos., and annus, year)

solemn feasts, and expressed, in disordered See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers, the excitement and frenzy See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt by the worshippers . This See also:

• ELEMENT (Lat. elementum)

element of unrestrained and intoxicated vehemence is prominent in all poetry of this class . The dithyramb was traditionally first practised in See also:

• NAXOS

Naxos; it spread to other islands, to See also:

• BOEOTIA

Boeotia and finally to See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens . See also:

• ARION

Arion is said to have introduced it at See also:

• CORINTH
• CORINTH, ISTHMUS OF

Corinth, and to have allied it to the worshir of See also:

• PAN (" pasturer ")
• PAN (common in various forms to many Teutonic languages, cf. Ger. Pfanne; it is generally taken to be an early adaptation in a shortened form of Lat. patina, shallow bowl or dish, from patere, to lie open)

Pan . It was thus " merged," as See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor G . G . See also:

• MURRAY
• MURRAY (or MORAY), EARLS OF
• MURRAY (or MORAY), JAMES STUART, EARL OF (c. 1531-1570)
• MURRAY (or MORAY), SIR ROBERT (c. 1600-1673)
• MURRAY, ALEXANDER STUART (1841-1904)
• MURRAY, DAVID (1849– )
• MURRAY, EUSTACE CLARE GRENVILLE (1824–1881)
• MURRAY, JAMES (c. 1719-1794)
• MURRAY, JOHN
• MURRAY, JOHN (1778–1820)
• MURRAY, LINDLEY (1745–1826)
• MURRAY, LORD GEORGE (1694–1760)
• MURRAY, SIR JAMES AUGUSTUS HENRY (1837– )
• MURRAY, SIR JOHN (1841– )

Murray says; " into the Satyr-See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir of See also:

• WILD, JONATHAN (c. 1682-1725)

wild See also:

• MOUNTAIN (0. Fr. montaigne; popular Lat. montanea, an adjectival form from the classical mons, montis, whence Eng. " mount," a form usually used along with the name of an individual mountain, e.g. Mt Everest)
• MOUNTAIN, THE (La Montagne)

mountain-goats" out of which sprang the earliest See also:

• FORM (Lat. forma)

form of tragedy . But when tragic See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama had so See also:

• FAT (O.E. fdett; the word is common to Teutonic languages, cf. Dutch vet, Ger. Fett, &c., and may be ultimately related to Greek Irian, and =apos, and Sanskrit pivan)

fat See also:

• DEVELOPED

developed as to be quite See also:

• INDEPENDENT

independent, the dithyramb did not, on ' That is, the right of claiming military service, and the right of bringing See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital offenders to See also:

• JUSTICE (Lat. justitia)

justice .

that See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account, disappear . It flourished in Athens until after the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of See also:

• ARISTOTLE
• ARISTOTLE (384-322 B.C.)

Aristotle . So far as we can. distinguish the form of the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient Greek dithyramb, it must have been a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of irregular wild poetry, not divided into strophes or constructed with any See also:

• EVOLUTION

evolution of the theme, but imitative of the See also:

• ENTHUSIASM

enthusiasm created by the use of wine, by what passed as the Dionysiac See also:

• DELIRIUM (a Latin medical term for madness, from delirare, to be mad, literally to wander from the lira, or furrow)

delirium . It was accompanied on some occasions by flutes, on others by the See also:

• LYRE (Gr. Xupa)

lyre, but we do not know enough to conjecture the reasons of the choice of See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument . See also:

• PINDAR (Gr. HivSapos, c. 522–443 B.c.)

Pindar, in whose hands the See also:

• ODE (Gr. uiSri, from aei&ew, to sing)

ode took such magnificent completeness, is said to have been trained in the elements of dithyrambic poetry by a certain See also:

• LASUS

Lasus of Hermione . See also:

• ION

Ion, having carried off the See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize in a dithyrambic contest, distributed to every Athenian See also:

• CITIZEN (a form corrupted in Eng., apparently by analogy with " denizen," from O. Fr. citeain, mod. Fr. citoyen)

citizen a See also:

• CUP (in O.E. cuppe; generally taken to be from Late Lat. cuppa, a variant of Lat. cupa, a cask, cf. Gr. KuaeXXov)

cup of Chian wine . In the See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion of antiquity, pure dithyrambic poetry reached its See also:

• CLIMAX, JOHN (c. 525–600 A.D.)

climax in a lost poem, The Cyclops, by See also:

• PHILOXENUS
• PHILOXENUS (Syriac, Aksenaya)

Philoxenus of See also:

• CYTHERA (mod. Cerigo, but still officially known as Cythera)

Cythera, a poet of the 4th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century B.C . After this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of dithyrambs, although not abandoned, rapidly declined in merit . It was essentially a Greek form, and was little cultivated, and always without success, by the Latins . The dithyramb had a spectacular character, combining See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse with See also:

• MUSIC

music . In See also:

• MODERN

modern literature, although the See also:

• ADJECTIVE (from the Lat. adjectives, added)

adjective " dithyrambic " is often used to describe an enthusiastic See also:

• MOVEMENT

movement in lyric See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language, and particularly in the ode, pure dithyrambs have been extremely rare . There are, however, some very notable examples .

The Baccho in Toscana of See also:

• FRANCESCO
• FRANCESCO, 210

Francesco Redi (1626-1698), which was translated from the See also:

• ITALIAN

Italian, with admirable skill, by See also:

• LEIGH
• LEIGH, EDWARD (1602–1671)

Leigh See also:

• HUNT, ALFRED WILLIAM (183o-1896)
• HUNT, HENRY (1i73-1835)
• HUNT, HENRY JACKSON (1819-1889)
• HUNT, JAMES HENRY LEIGH (1784-1859)
• HUNT, ROBERT (1807-1887)
• HUNT, THOMAS STERRY (1826-1892)
• HUNT, WILLIAM HENRY (1790—1864)
• HUNT, WILLIAM HOLMAN (1827-1910)
• HUNT, WILLIAM MORRIS (1824-1879)

Hunt, is a piece of genuine dithyrambic poetry . See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander's Feast (1698), by See also:

• DRYDEN, JOHN (1631-1700)

Dryden, is the best example in See also:

• ENGLISH

English . But perhaps more remarkable, and more genuinely dithyrambic than either, are the astonishing improvisations of Karl Mikael Gellman (1740-1795), whose Bacchic songs were collected in 1791 and form one of the most remarkable bodies of lyrical poetry in the literature of See also:

• SWEDEN
• SWEDEN [Sverige]
• SWEDEN, NORWAY AND

Sweden . (E .