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Dithyramb

The dithyramb (, ''dithurambos'') was an ancient Greek hymn sung and danced in honor of Dionysus, the god of wine and fertility; the term was also used as an epithet of the god:〔(Dithurambos ), Henry George Liddell, Robert Scott, ''A Greek-English Lexicon'', at Perseus. ''Dithyrambos'' seems to have arisen out of the hymn: just as ''paean'' was both a hymn to and a title of Apollo, ''Dithyrambos'' was an epithet of Dionysos as well as a song in his honour; see Harrison (1922, 436).〕 Plato, in ''The Laws'', while discussing various kinds of music mentions "the birth of Dionysos, called, I think, the dithyramb."〔Plato, ''Laws'', iii.700 B.〕 Plato also remarks in the Republic that dithyrambs are the clearest example of poetry in which the poet is the only speaker.
Plutarch contrasted the dithyramb's wild and ecstatic character with the paean.〔Plutarch, ''On the Ei at Delphi''. Plutarch himself was a priest of Dionysos at Delphi.〕 According to Aristotle, the dithyramb was the origin of Athenian tragedy.〔Aristotle, ''Poetics'' (1449a10–15): "Anyway, arising from an improvisatory beginning (both tragedy and comedy—tragedy from the leaders of the dithyramb, and comedy from the leaders of the phallic processions which even now continue as a custom in many of our cities), () grew little by little, as (poets ) developed whatever (part ) of it had appeared; and, passing through many changes, tragedy came to a halt, since it had attained its own nature"; see Janko (1987, 6).〕 A wildly enthusiastic speech or piece of writing is still occasionally described as ''dithyrambic''.〔(Definition of dithyrambic ). TheFreeDictionary.com.〕
==History==
Dithyrambs were sung by choirs at Delos, but the literary fragments that have survived are largely Athenian. In Athens, dithyrambs were sung by a Greek chorus of up to fifty men or boys dancing in circular formation, who may or may not have been dressed as Satyrs, probably accompanied by the ''aulos''. They would normally relate some incident in the life of Dionysus or just celebrate wine and fertility.
The ancient Greeks laid out the criteria of the dithyramb as follows:
* special rhythm
* ''aulos'' accompaniment in Phrygian mode 〔Harvey (1955). Aristotle records the failed attempt to set it in Dorian mode, in his ''Politics'' (8.7).〕
* enriching text
* considerable narrative content
* originally antistrophic character
Competitions between groups singing and dancing dithyrambs were an important part of the festivals of Dionysis, such as the Dionysia and Lenaia. Each tribe would enter two choirs, one of men and one of boys, each under the leadership of a ''coryphaeus''. The names of the winning teams of dithyrambic contests in Athens were recorded. The successful ''choregos'' would receive a statue that would be erected—at his expense—as a public monument to commemorate the victory. However, most of the poets remain unknown.
The earliest mention of dithyramb, found by Sir Arthur Wallace Pickard-Cambridge,〔Pickard-Cambridge, Sir Arthur Wallace. 1927. ''Dithyramb, Tragedy and Comedy''. Second edition revised by T.B.L. Webster, 1962. Oxford: Oxford University Press, 1997. ISBN 0-19-814227-7〕 is in a fragment of Archilochus, who flourished in the first half of the seventh century BCE: "I know how to lead the fair song of the Lord Dionysus, the dithyramb, when my wits are fused with wine." As a literary composition for chorus, their inspiration is unknown, although it was likely Greek, as Herodotus explicitly speaks of Arion of Lesbos as "the first of men we know to have composed the dithyramb and named it and produced it in Corinth".〔Pickard-Cambridge, Sir Arthur Wallace. 1927. ''Dithyramb Tragedy and Comedy''. Second edition revised by T.B.L. Webster, 1962. Oxford: Oxford University Press, 1997. ISBN 0-19-814227-7〕
The word ''dithyramb'' has no known origin, but is frequently assumed to not be derived from Greek.〔R. S. P. Beekes has suggested a Pre-Greek eymology (''Etymological Dictionary of Greek'', Brill, 2009, pp. 333–4).〕 An old hypothesis is that the word is borrowed from Phrygian or Pelasgian, and literally means "Vierschritt", i. e., "four-step", compare ''iamb'' and ''thriambus'', but H. S. Versnel rejects this etymology and suggests instead a derivation from a cultic exclamation. Dithyrambs were composed by the poets Simonides and Bacchylides, as well as Pindar (the only one whose works have survived in anything like their original form).
Later examples were dedicated to other gods, but the dithyramb subsequently was developed (traditionally by Arion) into a literary form.〔Feder, (1998, 48).〕 According to Aristotle, Athenian tragedy developed from the dithyramb; the two forms developed alongside one another for some time. The clearest sense of dithyramb as proto-tragedy comes from a surviving dithyramb by Bacchylides, though it was composed after tragedy had already developed fully.〔See (USU.edu ) and (UFL.edu ).〕 Bacchylides' dithyramb is a dialogue between a solitary singer and a choir. It is suggestive of what tragedy may have resembled before Aeschylus added a second actor instead of the choir.
In the later 5th century BCE, the dithyramb "became a favorite vehicle for the musical experiments of the poets of the 'new music'."〔Christopher G. Brown, "Dithyramb," in N.G. Wilson (ed.), ''Encyclopedia of Ancient Greece'', Routledge, 2006〕 This movement included the poets Timotheus of Miletus, Cinesias, Melanippides, and Philoxenus of Cythera. By the 4th century BCE the genre was in decline, although the dithyrambic competitions did not come to an end until well after the Roman takeover of Greece.

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