DOI Page / Citation link:
https://doi.org/10.11588/diglit.13855#0336
SALTATIO.
328
SALUTATORES.
by the name of the Pyrrhic foot (""), which
must be connected with this dance. In the
non-Doric states it was probably not prac-
tised as a training for war, but only as a
mimetic dance : thus we read of its being
danced by women to entertain a company.
Corybantian Dance. (Visconti, Mus. Pio Clem., vol. iv. tav. 9.)
It was also performed at Athens at the
greater and lesser I'anathenaca by ephebi,
who were called Pyrrhiehists (Tmppi^to-Tai),
and were trained at the expense of the cho-
ragus. In the mountainous parts of Thessaly
and Macedon dances are performed at the
present day by men armed with muskets and
swords. The Pyrrhic dance was introduced
in the public games at Rome by Julius Caesar,
when it was danced by the children of the
leading men in Asia and Bithynia. There
were other dances, besides the Pyrrhic, in
which the performers had arms; but these
seem to have been entirely mimetic, and not
practised with any view to training for war.
Such was the Carpaea (KapwaCa), peculiar to
the Aenianians and JIagnetes, and described
by Xenophon in the Anabasis. Such dances
were frequently performed at banquets for
ihe entertainment of the guests, where also
:he tumblers (Ku/3io~r>jpes) were often intro-
Tumbler. (Musi o I'orbonico, vol. vii. tav. 58.)
duced, who in the course of their dance riung
themselves on their head and alighted again
upon their feet. These tumblers were also
accustomed to make their somersets over
knives and swords, which was called KvfSiaTav
ei? fiaxaipas. "We learn from Tacitus that the
German youths also used to dance among
swords and spears pointed at them. Other
kinds of dances were frequently performed at
entertainments, in Rome as well as in Greece,
by courtezans, many of which were of a very
indecent and lascivious nature. Among the
dances performed without arms one of the
most important was the Hormos (opjxos),
which was danced at Sparta by youths and
maidens together: the youth danced first
some movements suited to his age, and of a
military nature; the maiden followed in
measured steps and with feminine gestures.
Another common dance at Sparta was the
bibasis 03i)3a<n.s), in which the dancer sprang
rapidly from the ground and struck the feet
behind.—Dancing was common among the
Romans in ancient times, in connection with
religious festivals and rites, because the an-
cients thought that no part of the body should
be free from the influence of religion. The
dances of the Salii, which were performed
by men of patrician families, are described
elsewhere. [Ancile.] Dancing, however,
was not performed by any Roman citizens
except in connection with religion, and it
was considered disgraceful for any freeman
to dance. The mimetic dances of the Romans,
which were carried to such perfection under
the empire, are described under Paxtomimus.
The dancers on the tight-rope [funambuli)
under the empire were as skilful as they are
in the present day.
SALUTATORES, the name given in thelatci
328
SALUTATORES.
by the name of the Pyrrhic foot (""), which
must be connected with this dance. In the
non-Doric states it was probably not prac-
tised as a training for war, but only as a
mimetic dance : thus we read of its being
danced by women to entertain a company.
Corybantian Dance. (Visconti, Mus. Pio Clem., vol. iv. tav. 9.)
It was also performed at Athens at the
greater and lesser I'anathenaca by ephebi,
who were called Pyrrhiehists (Tmppi^to-Tai),
and were trained at the expense of the cho-
ragus. In the mountainous parts of Thessaly
and Macedon dances are performed at the
present day by men armed with muskets and
swords. The Pyrrhic dance was introduced
in the public games at Rome by Julius Caesar,
when it was danced by the children of the
leading men in Asia and Bithynia. There
were other dances, besides the Pyrrhic, in
which the performers had arms; but these
seem to have been entirely mimetic, and not
practised with any view to training for war.
Such was the Carpaea (KapwaCa), peculiar to
the Aenianians and JIagnetes, and described
by Xenophon in the Anabasis. Such dances
were frequently performed at banquets for
ihe entertainment of the guests, where also
:he tumblers (Ku/3io~r>jpes) were often intro-
Tumbler. (Musi o I'orbonico, vol. vii. tav. 58.)
duced, who in the course of their dance riung
themselves on their head and alighted again
upon their feet. These tumblers were also
accustomed to make their somersets over
knives and swords, which was called KvfSiaTav
ei? fiaxaipas. "We learn from Tacitus that the
German youths also used to dance among
swords and spears pointed at them. Other
kinds of dances were frequently performed at
entertainments, in Rome as well as in Greece,
by courtezans, many of which were of a very
indecent and lascivious nature. Among the
dances performed without arms one of the
most important was the Hormos (opjxos),
which was danced at Sparta by youths and
maidens together: the youth danced first
some movements suited to his age, and of a
military nature; the maiden followed in
measured steps and with feminine gestures.
Another common dance at Sparta was the
bibasis 03i)3a<n.s), in which the dancer sprang
rapidly from the ground and struck the feet
behind.—Dancing was common among the
Romans in ancient times, in connection with
religious festivals and rites, because the an-
cients thought that no part of the body should
be free from the influence of religion. The
dances of the Salii, which were performed
by men of patrician families, are described
elsewhere. [Ancile.] Dancing, however,
was not performed by any Roman citizens
except in connection with religion, and it
was considered disgraceful for any freeman
to dance. The mimetic dances of the Romans,
which were carried to such perfection under
the empire, are described under Paxtomimus.
The dancers on the tight-rope [funambuli)
under the empire were as skilful as they are
in the present day.
SALUTATORES, the name given in thelatci