Delphi Complete Works of Lucian

by Lucian Samosata

  52. The Galli, when dead, are not buried like other men, but when a Gallus dies his companions carry him out into the suburbs, and laying him out on the bier on which they had carried him they cover him with stones, and after this return home. They wait then for seven days, after which they enter the temple. Should they enter before this they would be guilty of blasphemy.

  53. The laws which they observe are the following: Anyone who has seen a corpse may not enter the temple the same day; but afterwards, when he has purified himself, he enters. But those who are of the family of the corpse wait for thirty days, and after shaving their heads they enter the temple, but before they have done this it is forbidden.

  54. They sacrifice bulls and cows alike and goats and sheep; pigs alone, which they abominate, are neither sacrificed nor eaten. Others look on swine without disgust, but as holy animals. Of birds the dove seems the most holy to them, nor do they think it right to harm these birds, and if anyone have harmed them unknowingly they are unholy for that day, and so when the pigeons dwell with the men they enter their rooms and commonly feed on the ground.

  55. I will speak, too, about those who come to these sacred meetings and of what they do. As soon as a man comes to Hierapolis he shaves his head and his eyebrows; afterwards he sacrifices a sheep and cuts up its flesh and eats it; he then lays the fleece on the ground, places his knee on it, but puts the feet and head of the animal on his own head and at the same time he prays that the gods may vouchsafe to receive him, and he promises a greater victim hereafter. When this is performed he crowns his head with a garland and the heads of all those engaged in the same procession. Starting from his house he passes into the road, previously bathing himself and drinking cold water. He always sleeps on the ground, for he may not enter his bed till the completion of his journey.

  56. In the city of Hierapolis a public host receives him, suspecting nothing, for there are special hosts attached to each city, and these receive each guest according to his country. These are called by the Assyrians teachers, because they teach them all the solemn rites.

  57. They sacrifice victims not in the temple itself, but when the sacrificer has placed his victim at the altar and poured a libation he brings the animal home alive, and returning to his own house he slays his victim and utters prayers.

  58. There is also another method of sacrifice, as follows: They adorn live victims with ribbons and throw them headlong down from the temple’s entrance, and these naturally die after their fall. Some actually throw their own children down, not as they do the cattle, but they sew them into a sack and toss them down, visiting them with curses and declaring that they are not their children, but are cows.

  59. They all tattoo themselves — some on the hands and some on the neck — and so it comes that all the Assyrians bear stigmata.

  60. They have another curious custom, in which they agree with the Trœzenians alone of the Greeks. I will explain this too. The Trœzenians have made a law for their maidens and youths alike never to marry till they have dedicated their locks to Hippolytus; and this they do. It is the same at Hierapolis. The young men dedicate the first growth on their chin, then they let down the locks of the maidens, which have been sacred from their birth; they then cut these off in the temple and place them in vessels, some in silver vessels, some in gold, and after placing these in the temple and inscribing the name on the vessel they depart. I performed this act myself when a youth, and my hair remains still in the temple, with my name on the vessel.

  OF PANTOMIME — Περὶ Ὀρχήσεως

  Translated by H. W. Fowler and F. G. Fowler

  OF PANTOMIME

  [Footnote: ‘Pantomime’ has been chosen as the most natural translation of orchaesis, which in this dialogue has reference for the most part to the ballet-dancer (pantomimus) of imperial times. On the other hand, Lycinus, in order to establish the antiquity and the universality of an art that for all practical purposes dates only from the Augustan era, and (despite the Greek artists) is Roman in origin, avails himself of the wider meaning of orchaesis to give us the historic and prehistoric associations of dance in Greece and elsewhere; and in such passages it seemed advisable to sacrifice consistency, and to translate orchaesis dance.]

  Lycinus. Crato

  Ly. Here are heavy charges, Crato; I suppose you have been getting up this subject for some time. You are not content with attacking the whole pantomimic art, practical and theoretic; we too, the pleased spectators thereof, come in for our share: we have been lavishing our admiration, it seems, on effeminate triflers. And now let me show you how completely you have been mistaken; you will find that the art you have been maligning is the greatest boon of our existence. There is some excuse for your strictures: how should you know any better, confirmed ascetic that you are, believing that virtue consists in being uncomfortable?

  Cr. Now, my dear sir, can any one who calls himself a man, and an educated man, and in some sort a student of philosophy, — can such a one leave those higher pursuits, leave communing with the sages of old, to sit still and listen to the sound of a flute, and watch the antics of an effeminate creature got up in soft raiment to sing lascivious songs and mimic the passions of prehistoric strumpets, of Rhodopes and Phaedras and Parthenopes, to the accompaniment of twanging string and shrilling pipe and clattering heel? It is too absurd: these are not amusements for a gentleman; not amusements for Lycinus. When I first heard of your spending your time in this way, I was divided betwixt shame and indignation, to think that you could so far forget Plato and Chrysippus and Aristotle, as to sit thus having your ears tickled with a feather. If you want amusements, are there not a thousand things worth seeing and hearing? Can you not hear classical music performed at the great festivals? Are there not lofty tragedy and brilliant comedy, — things that have been deemed worthy of state recognition? My friend, you have a long reckoning to settle with men of learning, if you would not be repudiated altogether, and expelled from the congregation of the wise. I think your best course will be a point-blank denial: declare flatly that you never did anything of the kind. Anyhow, you must watch your conduct for the future: we do not want to find that our Lycinus has changed his sex, and become a Bacchante or a Lydian damsel. That would be as much to our discredit as to yours: for ours should be Odysseus’s part, — to tear you from the lotus, and bring you back to your accustomed pursuits; to save you from the clutches of these stage Sirens before it is too late. The Sirens, after all, did but plot against men’s ears; it needed but a little wax, and a man might sail past them uninjured: but yours is a captivity of ear and eye, of body and soul.

  Ly. Goodness gracious! All the Cynic in you is loose, and snarls at me. At the same time, I think your Lotus-and-Siren simile is rather off the point: you see, the people who ate the Lotus and listened to the Sirens paid for the gratification of ear and palate with their lives: whereas I not only have a great deal more enjoyment than they had, but am all the better for it. I have experienced no oblivion of my domestic affairs, nor blindness to my own interests; in fact — if I may venture to say so — you will find my penetration and practical wisdom considerably increased by my theatrical experiences. Homer has it exactly: the spectator

  Returns a gladder and a wiser man.

  Cr. Dear, dear! Yours is a sad case, Lycinus. You are not even ashamed; you seem quite pleased with yourself. That is the worst of it: there seems no hope of your recovery, while you can actually commend the mire in which you wallow.

  Ly. Now, Crato, — you talk of pantomimes and theatres, — have you seen these performances yourself, that you are so hard on them? or do you decide that they are ‘foul mire’ without personal experience? If you have seen them, you are just as bad as I am; and if not, are you justified in censuring them? does it not savour of over-confidence, to condemn what you know nothing about?

  Cr. Truly that would be the climax: that I should show my long beard and white hairs amid that throng of women and lunatics; and clap and yell in unseemly rapture over
the vile contortions of an abandoned buffoon.

  Ly. I can make allowance for you. But wait till I have prevailed on you to give it a fair trial, to accept the judgement of your own eyes: after that you will never be happy till you have secured the best seat in the theatre, where you may hear every syllable, mark every gesture.

  Cr. While this beard is yet unplucked, these limbs unshaven, God forbid that I should ever find happiness in such things. As it is, my poor friend, I see that you are wholly possessed.

  Ly. Now suppose you were to abstain from further abuse, and hear what I have to say of the merits of Pantomime; of the manner in which it combines profit with amusement; instructing, informing, perfecting the intelligence of the beholder; training his eyes to lovely sights, filling his ears with noble sounds, revealing a beauty in which body and soul alike have their share. For that music and dancing are employed to produce these results is no disparagement of the art; it is rather a recommendation.

  Cr. I have not much time for listening to a madman’s discourse in praise of his own madness. However — if you must deluge me with nonsense — I am prepared to do you that friendly office. My ears are at your service: they need no wax to render them deaf to foolishness. Henceforth I will be silent: speak on; — no one is listening.

  Ly. Thank you, Crato; just what I wanted. As to ‘foolishness,’ that remains to be seen. Now, to begin with, you seem to be quite ignorant of the antiquity of the pantomimic art. It is not a new thing; it does not date from to-day or yesterday; not, that is to say, from our grandfathers’ times, nor from their grandfathers’ times. The best antiquarians, let me tell you, trace dancing back to the creation of the universe; it is coeval with that Eros who was the beginning of all things. In the dance of the heavenly bodies, in the complex involutions whereby the planets are brought into harmonious intercourse with the fixed stars, you have an example of that art in its infancy, which, by gradual development, by continual improvements and additions, seems at length to have reached its climax in the subtle harmonious versatility of modern Pantomime.

  The first step, we learn, was taken by Rhea, who was so pleased with the art that she introduced it among the Corybantes in Phrygia and the Curetes in Crete. She was richly rewarded: for by their dancing they saved her child Zeus, who owes it to them (nor can he with decency deny it) that he escaped the paternal teeth. The dancing was performed in full armour; sword clashed against shield, and inspired heels beat martial time upon the ground. The art was presently taken up by the leading men in Crete, who by dint of practice became admirable dancers; and this applies not only to private persons, but to men of the first eminence, and of royal blood. Thus Homer, when he calls Meriones a dancer, is not disparaging him, but paying him a compliment: his dancing fame, it seems, had spread not only throughout the Greek world, but even into the camp of his enemies, the Trojans, who would observe, no doubt, on the field of battle that agility and grace of movement which he had acquired as a dancer. The passage runs as follows:

  Meriones, great dancer though thou be,

  My spear had stopped thy dancings, —

  it did not, however, do so; his practice in that art enabling him, apparently, to evade without difficulty any spears that might be hurled at him.

  I could mention a number of other heroes who went through a similar course of training, and made a serious study of dancing: but I will confine myself to the case of Neoptolemus, the son of Achilles, and a most eminent dancer. He it was who invented that beautiful dance called after him the Pyrrhic; a circumstance which may be supposed to have afforded more gratification to his father than his comeliness, or his prowess in other respects. Thus Troy, impregnable till then, falls a victim to the dancer’s skill, and is levelled with the dust.

  The Lacedaemonians, who are reputed the bravest of the Greeks, ever since they learnt from Castor and Pollux the Caryatic (a form of dance which is taught in the Lacedaemonian town of Caryae), will do nothing without the accompaniment of the Muses: on the field of battle their feet keep time to the flute’s measured notes, and those notes are the signal for their onset. Music and rhythm ever led them on to victory. To this day you may see their young men dividing their attention between dance and drill; when wrestling and boxing are over, their exercise concludes with the dance. A flute-player sits in their midst, beating time with his foot, while they file past and perform their various movements in rhythmic sequence, the military evolutions being followed by dances, such as Dionysus and Aphrodite love. Hence the song they sing is an invitation to Aphrodite and the Loves to join in their dance and revel; while the other (I should have said that they have two songs) contains instructions to the dancers: ‘Forward, lads: foot it lightly: reel it bravely’ (i.e. dance actively). It is the same with the chain dance, which is performed by men and girls together, dancing alternately, so as to suggest the alternating beads of a necklace. A youth leads off the dance: his active steps are such as will hereafter be of use to him on the field of battle: a maiden follows, with the modest movements that befit her sex; manly vigour, maidenly reserve, — these are the beads of the necklace. Similarly, their Gymnopaedia is but another form of dance.

  You have read your Homer; so that I need say nothing of the Shield of Achilles, with its choral dance, modelled on that which Daedalus designed for Ariadne; nor of the two dancers (‘tumblers,’ he calls them) there represented as leading the dance; nor again of the ‘whirling dance of youth,’ so beautifully wrought thereon by Hephaestus. As to the Phaeacians, living as they did in the lap of luxury, nothing is more natural than that they should have rejoiced in the dance. Odysseus, we find, is particularly struck with this: he gazes with admiration on the ‘twinkling of their feet.’ In Thessaly, again, dancing was such a prominent feature, that their rulers and generals were called ‘Dancers-in- chief,’ as may be seen from the inscriptions on the statues of their great men: ‘Elected Prime Dancer,’ we read; and again: ‘This statue was erected at the public expense to commemorate Ilation’s well-danced victory.’

  I need hardly observe that among the ancient mysteries not one is to be found that does not include dancing. Orpheus and Musaeus, the best dancers of their time, were the founders of these rites; and their ordinances show the value they attached to rhythm and dance as elements in religion. To illustrate this point would be to make the ceremonial known to the uninitiated: but so much is matter of common knowledge, that persons who divulge the mysteries are popularly spoken of as ‘dancing them out.’ In Delos, not even sacrifice could be offered without dance and musical accompaniment. Choirs of boys gathered and performed their dance to the sound of flute and lyre, and the best of them were chosen to act characters; the songs written for these occasions were known as chorales; and the ancient lyric poetry abounded in such compositions.

  But I need not confine myself to the Greeks. The Indians, when they rise to offer their morning salutation to the Sun, do not consider it enough to kiss their hands after the Greek fashion; turning to the East, they silently greet the God with movements that are designed to represent his own course through the heavens; and with this substitute for our prayers and sacrifices and choral celebrations they seek his favour at the beginning of every day and at its close. The Ethiopians go further, and dance even while they fight; the shaft an Ethiopian draws from that arrow-crown that serves him in place of a quiver will never be discharged before he has intimidated his enemy with the threatening gestures of the war-dance.

  Having dealt with India and Ethiopia, let us now consider the neighbouring country of Egypt. If I am not mistaken, the Egyptian Proteus of ancient legend is no other than a dancer, whose mimetic skill enables him to adapt himself to every character: in the activity of his movements, he is liquid as water, rapid as fire; he is the raging lion, the savage panther, the trembling bough; he is what he will. The legend takes these data, and gives them a supernatural turn, — for mimicry substituting metamorphosis. Our modern pantomimes have the same gift, and Proteus himself sometimes appears as the
subject of their rapid transformations. And it may be conjectured that in that versatile lady Empusa we have but another artist of the same kind, mythologically treated.

  Our attention is next claimed by the Roman dance of the Salii, a priesthood drawn from the noblest families; the dance is performed in honour of Mars, the most warlike of the Gods, and is of a particularly solemn and sacred character. According to a Bithynian legend, which agrees well with this Italian institution, Priapus, a war-like divinity (probably one of the Titans, or of the Idaean Dactyls, whose profession it was to teach the use of arms), was entrusted by Hera with the care of her son Ares, who even in childhood was remarkable for his courage and ferocity. Priapus would not put weapons into his hands till he had turned him out a perfect dancer; and he was rewarded by Hera with a tenth part of all Ares’s spoils. As to the rites of Dionysus, you know, without my telling you, that they consisted in dancing from beginning to end. Of the three main types of dance, the cordax, the sicinnis, and the emmelia, each was the invention and bore the name of one of the Satyrs, his followers. Assisted by this art, and accompanied by these revellers, he conquered Tyrrhenians, Indians, Lydians, dancing those warlike tribes into submission.