DITHYRAMBIC POETRY

This article appears in Volume V08, Page 324 of the Encyclopedia Britannica.

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DITHYRAMBIC POETRY , the description of poetry in which the character of the dithyramb is preserved. It remains quite uncertain what the derivation or even the primitive meaning of the Greek word &Obpayi3os is, although many conjectures have been attempted. It was, however, connected from earliest times with the choral

worship

WORSHIP (i.e. " worth-ship," O. Eng. weor8scipe)

of Dionysus. A dithyramb is defined by Grote as a round choric dance and song in honour of the wine-god. The earliest dithyrambic poetry was probably improvised by priests of Bacchus at solemn feasts, and expressed, in disordered numbers, the excitement and frenzy felt by the worshippers. This

element

ELEMENT (Lat. elementum)

of unrestrained and intoxicated vehemence is prominent in all poetry of this class. The dithyramb was traditionally first practised in Naxos; it spread to other islands, to Boeotia and finally to Athens. Arion is said to have introduced it at Corinth, and to have allied it to the worshir of Pan. It was thus " merged," as Professor G. G. Murray says; " into the Satyr-choir of wild

mountain

-goats" out of which sprang the earliest form of tragedy. But when tragic drama had so fat developed as to be quite independent, the dithyramb did not, on
' That is, the right of claiming military service, and the right of bringing

capital

CAPITAL (i.e. capital stock or fund)
CAPITAL (Lat. caput, head)

offenders to justice.
that account, disappear. It flourished in Athens until after the age of

Aristotle

ARISTOTLE
ARISTOTLE (384-322 B.C.)

. So far as we can. distinguish the form of the ancient Greek dithyramb, it must have been a kind of irregular wild poetry, not divided into strophes or constructed with any

evolution

EVOLUTION

of the theme, but imitative of the enthusiasm created by the use of wine, by what passed as the Dionysiac delirium. It was accompanied on some occasions by flutes, on others by the lyre, but we do not know enough to conjecture the reasons of the choice of

instrument

INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

Pindar

PINDAR (Gr. HivSapos, c. 522–443 B.c.)

, in whose hands the ode took such magnificent completeness, is said to have been trained in the elements of dithyrambic poetry by a certain Lasus of Hermione. Ion, having carried off the prize in a dithyrambic contest, distributed to every Athenian citizen a cup of Chian wine. In the

opinion

OPINION (Lat. opinio, from opinari, to think)

of antiquity, pure dithyrambic poetry reached its climax in a lost poem, The Cyclops, by Philoxenus of Cythera, a poet of the 4th century B.C. After this time, the 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 verse with music. In modern literature, although the adjective " dithyrambic " is often used to describe an enthusiastic

movement

MOVEMENT

in lyric language, and particularly in the ode, pure dithyrambs have been extremely rare. There are, however, some very notable examples. The Baccho in Toscana of Francesco Redi (1626-1698), which was translated from the Italian, with admirable skill, by Leigh Hunt, is a piece of genuine dithyrambic poetry. Alexander's Feast (1698), by Dryden, is the best example in 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 Sweden. (E. G.)

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