The antique Greek dance, after sculptured and painted figures . Fig. 575. 260 THE DANCERS was copied by the rural population. In that period the thiase ofBacchic legend became a reality, and the obscene gambols picturedon the vases were copied from life. 404. The Dionysian dance is one of the forms of the Bacchic cultand, on the whole, may be considered as a part of the ritual of. Fig. 5T6. frenzy of the Bacchants. It is not rare to find the sacrifice arrangedin their midst; the religious character is evident. Figs. 273, 352,438, 439, 576, 577 and 578, taken from paintings on vases, show the a
The antique Greek dance, after sculptured and painted figures . Fig. 575. 260 THE DANCERS was copied by the rural population. In that period the thiase ofBacchic legend became a reality, and the obscene gambols picturedon the vases were copied from life. 404. The Dionysian dance is one of the forms of the Bacchic cultand, on the whole, may be considered as a part of the ritual of. Fig. 5T6. frenzy of the Bacchants. It is not rare to find the sacrifice arrangedin their midst; the religious character is evident. Figs. 273, 352,438, 439, 576, 577 and 578, taken from paintings on vases, show the altar beside which are theBacchants. The only differencebetween these scenes and the Bac-chanales is the presence of thealtar. 405. What were the move-ments peculiar to the Bacchicdances, and used by all of thedancers who took part in the or-giastic ceremonies? The dis-tinguishing mark is not the essen-tial form of the dance, but theexaggeration of the dancers who worked them-selves into frenzy in honor of Dionysos, of Rhea, or Atys, present,fundamentally, the same movements and gestures common to allGreek dances, though, in their liturgical delirium, they amplified all
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
