The kings of Arabia who against my agreement,
sinned, whom in the midst of battle alive I had captured
in hand, to make that Bitrichiti Heavy burdens I
caused them to carry and I caused them to take
building its brick work with dancing and
music with joy and shouting from the found
ation to its roof I built
A Mesopotamian king, who had the genius to conceive the dazzling idea of communicating with the readers of this distant generation by taking impressions of carpet tacks4 on cubes of unbaked clay is surely entitled to a certain veneration5, and when he associates dancing with such commendable6 actions as making porters of his royal captives it is not becoming in us meaner mortals to set up a contrary opinion. Indeed nothing can be more certain than that the art of dancing was not regarded by the ancients generally in the light of a frivolous7 accomplishment8, nor its practice a thing wherewith to shoo away a tedious hour. In their minds it evidently had a certain dignity and elevation9, so much so that they associated it with their ideas (tolerably correct ones, on the whole) of art, harmony, beauty, truth and religion With them, dancing bore a relation to walking and the ordinary movements of the limbs similar to that which poetry bears to prose, and as our own Emerson — himself something of an ancient — defines poetry as the piety10 of the intellect, so Homer would doubtless have defined dancing as the devotion of the body if he had had the unspeakable advantage of a training in the Emerson school of epigram. Such a view of it is natural to the unsophisticated pagan mind, and to all minds of clean, wholesome11, and simple understanding. It is only the intellect that has been subjected to the strain of overwrought religious enthusiasm of the more sombre sort that can discern a lurking12 devil in the dance, or anything but an exhilarating and altogether delightful13 outward manifestation14 of an inner sense of harmony, joy and well being. Under the stress of morbid15 feeling, or the overstrain of religious excitement, coarsely organized natures see or create something gross and prurient16 in things intrinsically sweet and pure, and it happens that when the dance has fallen to their shaping and direction, as in religious rites18, then it has received its most objectionable development and perversion19. But the grossness of dances devised by the secular20 mind for purposes of ?sthetic pleasure is all in the censorious critic, who deserves the same kind of rebuke21 administered by Dr. Johnson to Boswell, who asked the Doctor if he considered a certain nude22 statue immodest. “No, sir, but your question is.”
It would be an unfortunate thing, indeed, if the “prurient prudes” of the meeting houses were permitted to make the laws by which society should be governed. The same unhappy psychological condition which makes the dance an unclean thing in their jaundiced eyes renders it impossible for them to enjoy art or literature when the subject is natural, the treatment free and joyous23. The ingenuity24 that can discover an indelicate provocative25 in the waltz will have no difficulty in snouting out all manner of uncleanlmess in Shakspeare, Chaucer, Boccacio — nay26, even in the New Testament27. It would detect an unpleasant suggestiveness in the Medicean Venus, and two in the Dancing Faun. To all such the ordinary functions of life are impure28, the natural man and woman things to blush at, all the economies of nature full of shocking improprieties.
In the Primitive29 Church dancing was a religious rite17, no less than it was under the older dispensation among the Jews. On the eve of sacred festivals, the young people were accustomed to assemble, sometimes before the church door, sometimes in the choir30 or nave31 of the church, and dance and sing hymns32 in honor of the saint whose festival it was. Easter Sunday, especially, was so celebrated34; and rituals of a comparatively modern date contain the order in which it is appointed that the dances are to be performed, and the words of the hymns to the music of which the youthful devotees flung up their pious35 heels But I digress.
In Plato’s time the Greeks held that dancing awakened36 and preserved in the soul — as I do not doubt that it does — the sentiment of harmony and proportion; and in accordance with this idea Simonides, with a happy knack37 at epigram, defined dances as “poems in dumb show.”
In his Republic Plato classifies the Grecian dances as domestic, designed for relaxation38 and amusement, military, to promote strength and activity in battle; and religious, to accompany the sacred songs at pious festivals. To the last class belongs the dance which Theseus is said to have instituted on his return from Crete, after having abated39 the Minotaur nuisance. At the head of a noble band of youth, this public spirited reformer of abuses himself executed his dance. Theseus as a dancing-master does not much fire the imagination, it is true, but the incident has its value and purpose in this dissertation40. Theseus called his dance Geranos, or the “Crane,” because its figures resembled those described by that fowl41 aflight; and Plutarch fancied he discovered in it a meaning which one does not so readily discover in Plutarch’s explanation.
It is certain that, in the time of Anacreon,1 the Greeks loved the dance. That poet, with frequent repetition, felicitates himself that age has not deprived him of his skill in it. In Ode LIII, he declares that in the dance he renews his youth
When I behold42 the festive43 train
Of dancing youth, I’m young again
And let me, while the wild and young
Trip the mazy dance along
Fling my heap of years away
And be as wild, as young as they
—Moore
And so in Ode LIX, which seems to be a vintage hymn33.
When he whose verging44 years decline
As deep into the vale as mine
When he inhales45 the vintage cup
His feet new winged from earth spring up
And as he dances the fresh air
Plays whispering through his silvery hair
—Id
In Ode XLVII, he boasts that age has not impaired46 his relish47 for, nor his power of indulgence in, the feast and dance.
Tis true my fading years decline
Yet I can quaff48 the brimming wine
As deep as any stripling fair
Whose cheeks the flush of morning wear,
And if amidst the wanton crew
I’m called to wind the dance’s clew
Then shalt thou see this vigorous hand
Not faltering49 on the Bacchant’s wand
For though my fading years decay —
Though manhood’s prime hath passed away,
Like old Silenus sire divine
With blushes borrowed from the wine
I’ll wanton mid3 the dancing tram
And live my follies50 o’er again
—Id
Cornelius Nepos, I think, mentions among the admirable qualities of the great Epaminondas that he had an extraordinary talent for music and dancing. Epaminondas accomplishing his jig51 must be accepted as a pleasing and instructive figure in the history of the dance.
Lucian says that a dancer must have some skill as an actor, and some acquaintance with mythology52 — the reason being that the dances at the festivals of the gods partook of the character of pantomime, and represented the most picturesque53 events and passages in the popular religion. Religious knowledge is happily no longer regarded as a necessary qualification for the dance, and, in point of fact no thing is commonly more foreign to the minds of those who excel in it.
It is related of Aristides the Just that he danced at an entertainment given by Dionysius the Tyrant54, and Plato, who was also a guest, probably confronted him in the set.
The “dance of the wine press,” described by Longinus, was originally modest and proper, but seems to have become in the process of time — and probably by the stealthy participation55 of disguised prudes — a kind of can can.
In the high noon of human civilization — in the time of Pericles at Athens — dancing seems to have been regarded as a civilizing56 and refining amusement in which the gravest dignitaries and most renowned57 worthies58 joined with indubitable alacrity59, if problematic advantage. Socrates himself — at an advanced age, too — was persuaded by the virtuous60 Aspasia to cut his caper61 with the rest of them.
Horace (Ode IX, Book I,) exhorts62 the youth not to despise the dance:
Nec dulcis amores
Sperne puer, neque tu choreas.
Which may be freely translated thus:
Boy, in Love's game don't miss a trick,
Nor be in the dance a walking stick.
In Ode IV, Book I, he says:
Jam Cytherea choros ducit, inminente Luna
Junct?que Nymphis Grati? decentes
Alterno terram quatiunt pede, etc
At moonrise, Venus and her joyous band
Of Nymphs and Graces leg it o’er the land
In Ode XXXVI, Book I (supposed to have been written when Numida returned from the war in Spain, with Augustus, and referring to which an old commentator63 says “We may judge with how much tenderness Horace loved his friends, when he celebrates their return with sacrifices, songs, and dances”) Horace writes
Cressa ne careat pulchra dies nota
Neu promt? modus amphor?
Neu morem in Salium sit requies pedum etc.
Let not the day forego its mark
Nor lack the wine jug’s honest bark
Like Salian priests we’ll toss our toes —
Choose partners for the dance — here goes!
It has been hastily inferred that, in the time of Cicero, dancing was not held in good repute among the Romans, but I prefer to consider his ungracious dictum (in De Ami citia, I think,) ”Nemo sobrius saltat“— no sober man dances — as merely the spiteful and envious64 fling of a man who could not himself dance, and am disposed to congratulate the golden youth of the Eternal City on the absence of the solemn consequential65 and egotistic orator66 from their festivals and merry makings whence his shining talents would have been so many several justifications67 for his forcible extrusion68. No doubt his eminence69 procured70 him many invitations to balls of the period, and some of these he probably felt constrained71 to accept, but it is highly unlikely that he was often solicited72 to dance, he probably wiled73 away the tedious hours of inaction by instructing the fibrous virgins74 and gouty bucks75 in the principles of juris prudence76. Cicero as a wall flower is an interesting object, and, turning to another branch of our subject, in this picturesque attitude we leave him. Left talking.
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1 authentic | |
a.真的,真正的;可靠的,可信的,有根据的 | |
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2 inscriptions | |
(作者)题词( inscription的名词复数 ); 献词; 碑文; 证劵持有人的登记 | |
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3 mid | |
adj.中央的,中间的 | |
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4 tacks | |
大头钉( tack的名词复数 ); 平头钉; 航向; 方法 | |
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5 veneration | |
n.尊敬,崇拜 | |
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6 commendable | |
adj.值得称赞的 | |
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7 frivolous | |
adj.轻薄的;轻率的 | |
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8 accomplishment | |
n.完成,成就,(pl.)造诣,技能 | |
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9 elevation | |
n.高度;海拔;高地;上升;提高 | |
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10 piety | |
n.虔诚,虔敬 | |
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11 wholesome | |
adj.适合;卫生的;有益健康的;显示身心健康的 | |
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12 lurking | |
潜在 | |
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13 delightful | |
adj.令人高兴的,使人快乐的 | |
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14 manifestation | |
n.表现形式;表明;现象 | |
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15 morbid | |
adj.病的;致病的;病态的;可怕的 | |
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16 prurient | |
adj.好色的,淫乱的 | |
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17 rite | |
n.典礼,惯例,习俗 | |
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18 rites | |
仪式,典礼( rite的名词复数 ) | |
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19 perversion | |
n.曲解;堕落;反常 | |
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20 secular | |
n.牧师,凡人;adj.世俗的,现世的,不朽的 | |
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21 rebuke | |
v.指责,非难,斥责 [反]praise | |
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22 nude | |
adj.裸体的;n.裸体者,裸体艺术品 | |
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23 joyous | |
adj.充满快乐的;令人高兴的 | |
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24 ingenuity | |
n.别出心裁;善于发明创造 | |
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25 provocative | |
adj.挑衅的,煽动的,刺激的,挑逗的 | |
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26 nay | |
adv.不;n.反对票,投反对票者 | |
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27 testament | |
n.遗嘱;证明 | |
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28 impure | |
adj.不纯净的,不洁的;不道德的,下流的 | |
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29 primitive | |
adj.原始的;简单的;n.原(始)人,原始事物 | |
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30 choir | |
n.唱诗班,唱诗班的席位,合唱团,舞蹈团;v.合唱 | |
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31 nave | |
n.教堂的中部;本堂 | |
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32 hymns | |
n.赞美诗,圣歌,颂歌( hymn的名词复数 ) | |
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33 hymn | |
n.赞美诗,圣歌,颂歌 | |
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34 celebrated | |
adj.有名的,声誉卓著的 | |
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35 pious | |
adj.虔诚的;道貌岸然的 | |
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36 awakened | |
v.(使)醒( awaken的过去式和过去分词 );(使)觉醒;弄醒;(使)意识到 | |
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37 knack | |
n.诀窍,做事情的灵巧的,便利的方法 | |
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38 relaxation | |
n.松弛,放松;休息;消遣;娱乐 | |
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39 abated | |
减少( abate的过去式和过去分词 ); 减去; 降价; 撤消(诉讼) | |
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40 dissertation | |
n.(博士学位)论文,学术演讲,专题论文 | |
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41 fowl | |
n.家禽,鸡,禽肉 | |
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42 behold | |
v.看,注视,看到 | |
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43 festive | |
adj.欢宴的,节日的 | |
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44 verging | |
接近,逼近(verge的现在分词形式) | |
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45 inhales | |
v.吸入( inhale的第三人称单数 ) | |
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46 impaired | |
adj.受损的;出毛病的;有(身体或智力)缺陷的v.损害,削弱( impair的过去式和过去分词 ) | |
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47 relish | |
n.滋味,享受,爱好,调味品;vt.加调味料,享受,品味;vi.有滋味 | |
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48 quaff | |
v.一饮而尽;痛饮 | |
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49 faltering | |
犹豫的,支吾的,蹒跚的 | |
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50 follies | |
罪恶,时事讽刺剧; 愚蠢,蠢笨,愚蠢的行为、思想或做法( folly的名词复数 ) | |
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51 jig | |
n.快步舞(曲);v.上下晃动;用夹具辅助加工;蹦蹦跳跳 | |
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52 mythology | |
n.神话,神话学,神话集 | |
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53 picturesque | |
adj.美丽如画的,(语言)生动的,绘声绘色的 | |
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54 tyrant | |
n.暴君,专制的君主,残暴的人 | |
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55 participation | |
n.参与,参加,分享 | |
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56 civilizing | |
v.使文明,使开化( civilize的现在分词 ) | |
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57 renowned | |
adj.著名的,有名望的,声誉鹊起的 | |
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58 worthies | |
应得某事物( worthy的名词复数 ); 值得做某事; 可尊敬的; 有(某人或事物)的典型特征 | |
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59 alacrity | |
n.敏捷,轻快,乐意 | |
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60 virtuous | |
adj.有品德的,善良的,贞洁的,有效力的 | |
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61 caper | |
v.雀跃,欢蹦;n.雀跃,跳跃;续随子,刺山柑花蕾;嬉戏 | |
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62 exhorts | |
n.劝勉者,告诫者,提倡者( exhort的名词复数 )v.劝告,劝说( exhort的第三人称单数 ) | |
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63 commentator | |
n.注释者,解说者;实况广播评论员 | |
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64 envious | |
adj.嫉妒的,羡慕的 | |
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65 consequential | |
adj.作为结果的,间接的;重要的 | |
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66 orator | |
n.演说者,演讲者,雄辩家 | |
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67 justifications | |
正当的理由,辩解的理由( justification的名词复数 ) | |
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68 extrusion | |
n.挤出;推出;喷出;赶出 | |
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69 eminence | |
n.卓越,显赫;高地,高处;名家 | |
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70 procured | |
v.(努力)取得, (设法)获得( procure的过去式和过去分词 );拉皮条 | |
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71 constrained | |
adj.束缚的,节制的 | |
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72 solicited | |
v.恳求( solicit的过去式和过去分词 );(指娼妇)拉客;索求;征求 | |
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73 wiled | |
v.引诱( wile的过去式和过去分词 );诱惑;消遣;消磨 | |
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74 virgins | |
处女,童男( virgin的名词复数 ); 童贞玛利亚(耶稣之母) | |
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75 bucks | |
n.雄鹿( buck的名词复数 );钱;(英国十九世纪初的)花花公子;(用于某些表达方式)责任v.(马等)猛然弓背跃起( buck的第三人称单数 );抵制;猛然震荡;马等尥起后蹄跳跃 | |
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76 prudence | |
n.谨慎,精明,节俭 | |
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