DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.5674#0145
(138)
musick. The author of the travels of Anacharsis pretends,
that those two instruments served alio for another pur-
pose. When the Choir dialogued with the a6tors-, then, says
he, either his Choryphaeus recited with them, or they sung
alternately with the Choir. In the song , the voice was
accompanied by the ssute, and in the declamation by the
lyre.
Plate 51.) Lucian says, that the feast of Bacchus consisted
entirely in dances (a). They were distinguished by three
principal sorts , the first was the comic, called Cor dace,
the second the tragick , called Emmelie , and the third
the satirick, known by the name of Sicinnis:, they had all
three been invented by the Ministers of Bacchus, who gave
them their own names. The Bacchick dance {b\ of the sa-
tirick class, \xas much esteemed injonia, andPontus. Itso
charmed the inhabitans of those parts, that during the time
that was alotted for it, they abandoned every occupation,
and spent several days in sitting to see the dances of the
Titans, Corybantes, Satyrs, and Shepherds. The most di-
stinguished Citizens and the first Magistrates of each city
danced Satiricks , and so far from being ashamed os it,
they were prouder of these diversions than of their birth,
municipal offices, or of the virtue of their ancestors. This
plate represents the satirick dance, properly called Sicinnis.
In the attitude of the Faun in the middle, you plainly
discover the national dance of the Kingdom of Naples,
called the Tarantella, and the motion of the feet descri-
bed by Nonnus{c) in the dance of Ampelus.
The
(a) Dialogue of the dance. (c) Lib. I. v. 241.
(b) Lucian. in the [ame dialogue.
V
musick. The author of the travels of Anacharsis pretends,
that those two instruments served alio for another pur-
pose. When the Choir dialogued with the a6tors-, then, says
he, either his Choryphaeus recited with them, or they sung
alternately with the Choir. In the song , the voice was
accompanied by the ssute, and in the declamation by the
lyre.
Plate 51.) Lucian says, that the feast of Bacchus consisted
entirely in dances (a). They were distinguished by three
principal sorts , the first was the comic, called Cor dace,
the second the tragick , called Emmelie , and the third
the satirick, known by the name of Sicinnis:, they had all
three been invented by the Ministers of Bacchus, who gave
them their own names. The Bacchick dance {b\ of the sa-
tirick class, \xas much esteemed injonia, andPontus. Itso
charmed the inhabitans of those parts, that during the time
that was alotted for it, they abandoned every occupation,
and spent several days in sitting to see the dances of the
Titans, Corybantes, Satyrs, and Shepherds. The most di-
stinguished Citizens and the first Magistrates of each city
danced Satiricks , and so far from being ashamed os it,
they were prouder of these diversions than of their birth,
municipal offices, or of the virtue of their ancestors. This
plate represents the satirick dance, properly called Sicinnis.
In the attitude of the Faun in the middle, you plainly
discover the national dance of the Kingdom of Naples,
called the Tarantella, and the motion of the feet descri-
bed by Nonnus{c) in the dance of Ampelus.
The
(a) Dialogue of the dance. (c) Lib. I. v. 241.
(b) Lucian. in the [ame dialogue.
V