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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. See also:

ARION

Arion is said to have introduced it at See also:

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

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 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-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 offenders to See also:

JUSTICE (Lat. justitia)

justice.

that See also:

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

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, 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 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, the See also:

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

ITALIAN

Italian, with admirable skill, by See also:

Leigh See also:

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

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. (E.

End of Article: DITHYRAMBIC POETRY

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