The antique Greek dance, after sculptured and painted figures . Fig. 561. the players leaped up and down in an exaggerated manner on aslippery cord, inevitably meeting with misadventures, to the delightof the spectators. A player marked the rhythm to which theseleaps were made. 378. Play-rhythms for Two.—The aulette was often accompanied by the ephedrismos. It is supposed, fromthe aspect of the players represented inFigs. 564 and 565, that the rhythm actedas a regulator. Properly speaking, the ephedrismos is awager, the loser being obliged to carry thevictor on his back. Representations of ita
The antique Greek dance, after sculptured and painted figures . Fig. 561. the players leaped up and down in an exaggerated manner on aslippery cord, inevitably meeting with misadventures, to the delightof the spectators. A player marked the rhythm to which theseleaps were made. 378. Play-rhythms for Two.—The aulette was often accompanied by the ephedrismos. It is supposed, fromthe aspect of the players represented inFigs. 564 and 565, that the rhythm actedas a regulator. Properly speaking, the ephedrismos is awager, the loser being obliged to carry thevictor on his back. Representations of itare numerous in all periods of Greek 562 is one of the oldest: this is ayouth who carries a younger boy on hisback in a sort of game, the point being tothrow the person being carried on play takes on another form in Fig. 563. The one who carriesthe other is motionless, his hands held between his knees; astride his. Fig. 565. THE PLAY RHYTHMS 243 neck is his companion, who beats his hands in time. A flute playermarks the rhythm. Representations analogous to Fig. 562 are frequent. On a cupof the fifth century B. C. (Millin, Antique Vases, II, PI. X) is showna picture of Hercules carrying Dionysos, who holds a drinking-horn. Sometimes a man carries a woman (Heuzey, Figurines of theLouvre, XXXIII, 2), or one woman on the back of another, oneplaying with a ball (Pottier, Figurines of Terra-cotta, p. 90). It is not rare to find an intaglio showing one Satyr on the backof another (Cabinet of Medallions). 379. The two Satyrs (Fig. 564) are engaged in a comic wrestlingbout. Each is supported on one hand and both knees, trying toforce one another backward. 380. A lovely group of Tanagra figurines, in the Louvre (), must have the following comment: the movements are exe-cuted by two young girls and may be either simultaneous or suc-cessive ; they are at the point of departure, or, perhaps, at the en
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
