When a poem begins to seem too obvious, or the repetition too heavy-handed, Waldman takes a descortian or a dithyrambic turn, reminding us that the essence of the outrider tradition also includes creativity, unexpectedness, exploration, joy, openness, experimentation, playfulness.
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He was one of the most important dithyrambic poets of ancient Greece.Smith, s.v. Philoxenus.
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A wildly enthusiastic speech or piece of writing is still occasionally described as dithyrambic.Definition of dithyrambic. TheFreeDictionary.com.
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2 Campbell. was a Greek dithyrambic poet, an exponent of the "New Music."Rocha, BMCR 2015.05.32; LeVen, p. 71.
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39 and probably did not last a long time.Davies 1981, p. 9 A dithyrambic chorus at the Panathenaea cost only 300 drachmas.Lysias, XXI = Defending anonymous, 2.
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During the month of August 1881 my brother resolved to reveal the teaching of the Eternal Recurrence, in dithyrambic and psalmodic form, through the mouth of Zarathustra.
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As a palpable ambiguity, he incorporated the doubts of modernity into tradition into his pictorial constructions and sought the way out of the then overpowering abstraction. In 1962 he developed his "dithyrambic painting" in Berlin and began the Mickey Mouse series and a year later the Donald Duck series. In 1964, he held his exhibition of the "Dithyrambic Paintings", term taken from Friedrich Nietzsche. In this paintings, Lüpertz combined the opposites of objectivity and abstraction into a synthesis.
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The Blue Idol received a dithyrambic review from Billboard, describing it as «a work of genius» and as «a triumph for Altan and a reminder of the endless charm of Irish music».
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Before making this point, he has indicated that as in comedy, it is the same in dithyrambic poetry, and cites as examples the Cyclops of both Timotheus and Philoxenus.LeVen, p. 235; Hordern, pp. 448-450; Farmer, p. 215.
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A Grove Play By George Sterling. Music By Domenico Brescia. Retrieved on June 30, 2009. In 1921, Brescia's Dithyrambic Suite for woodwind quintet premiered at Elizabeth Sprague Coolidge's Berkshire Chamber Music Festival, with the performance featuring flautist Georges Barrère.
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Philotas (in Greek Φιλωτας; lived 5th century BC) was an ancient Greek dithyrambic poet and musician, the disciple of Philoxenus of Cythera; he is considered only worthy of notice as having once gained a victory over his great contemporary Timotheus of Miletus.
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Only one victory of Ion's is mentioned, on which occasion, it is said, having gained the dithyrambic and tragic prizes at the same time, he presented every Athenian with a pitcher of Chian wine.Scholium ad Aristoph. Pac. 830; Suda, Athenaios; Athenaeus, i. 3; Eustath.
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Timotheus of Miletus (; c. 446 – 357 BC) was a Greek musician and dithyrambic poet, an exponent of the "new music." He added one or more strings to the lyre, whereby he incurred the displeasure of the Spartans and Athenians (E. Curtius, Hist of Greece, bk. v. ch. 2).
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A few details of Philoxenus' life are known.Campbell, p. 7. According to the Suda, Philoxenus was the son of Eulytides, from Cythera. On the conquest of the island by the Athenians, Philoxenus was taken as a slave to Athens, where he came into the possession of the dithyrambic poet Melanippides, who educated him.
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Campbell, p. 2; fr. 819 Campbell = PMG 819. And, in another innovation for dithyrambic performance, the same character was apparently supplied with a costume, which included a leather bag, and sprigs of herbs.Campbell, p. 2; fr. 820 Campbell = PMG 820. According to the Suda, Philoxenus composed twenty-four dithyrambs, and a lyric poem on the descendants of Aeacus.
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Hanns Heinz Ewers, who gave a speech at the opening night of the Nollendorf-Theater. The inauguration on 19 March 1913 of this "palace of unheard-of luxury" made a "genuine sensation." The evening began with a dithyrambic speech in praise of the cinema (the Kintopp) by Hanns Heinz Ewers, one of the most outspoken pro-Autorenfilm literati."Cines Nollendorftheater" (in German). Der Tag, 20 May 1913.
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According to a passage in Deipnosophistae, the sophist and dithyrambic poet Licymnius of ChiosLicymnius is known only through a few quoted lines and second-hand through references (William Smith, ed. Dictionary of Greek and Roman Antiquities 1870 ) tells a different tale about the Endymion myth, in which Hypnos, in awe of his beauty, causes him to sleep with his eyes open, so he can fully admire his face.
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By the word "tragedy" here we can understand only the old dithyrambic and satyrical tragôidia, into which it is possible that Epigenes may have been the first to introduce other subjects than the original one of the fortunes of origin, if at least we may trust the account which we find in Apostolius, Photius, and Suidas, of the origin of the proverb ouden pros ton Dtonuson. This would clearly be one of the earliest steps in the gradual transformation of the old dithyrambic performance into the dramatic tragedy of later times, and may tend to justify the statement which ascribes the invention of tragedy to the Sicyonians. We do not know the period at which Epigenes flourished, and the point was a doubtful one in the time of Suidas, who sayss. v. Thespis (cited by Elder) that, according to some, he was the 16th before Thespis, while, according to others, he almost immediately preceded him.
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Some treatises also describe "melic" composition (μελοποιΐα), "the employment of the materials subject to harmonic practice with due regard to the requirements of each of the subjects under consideration" —which, together with the scales, tonoi, and harmoniai resemble elements found in medieval modal theory . According to Aristides Quintilianus (On Music, i.12), melic composition is subdivided into three classes: dithyrambic, nomic, and tragic. These parallel his three classes of rhythmic composition: systaltic, diastaltic and hesychastic.
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Lüpertz sees the picturesque universe shaped by a continuous rhythm to which everything is subordinated. He published his "Dithyrambic Manifesto", in 1966, followed by a second manifesto titled "The Grace of the Twentieth Century", in 1968.Zitiert nach der Pressemappe der Bundeskunsthalle zur Retrospektive 2009/2010, S. 9. (German) From 1969 to 1977, he painted predominantly German motifs, namely symbolic objects such as steel helmets, shovels, flags or monumental antlers in large formats.
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During the height of the Athenian Empire in the mid-5th century BC, various gifts and weapons showcasing Athens' strength were carried as well. Also included in the procession were bulls to be sacrificed in the theatre. The most conspicuous members of the procession were the chorēgoí (χορηγοί, "sponsors", literally: "chorus leaders"), who were dressed in the most expensive and ornate clothing. After the pompē, the chorēgoí led their choruses in the dithyrambic competitions.
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Most of the extant Greek tragedies, including those of Aeschylus, Euripides, and Sophocles, were performed at the Theatre of Dionysus. The archons, epimeletai, and judges (agonothetai – ἀγωνοθἐται) watched from the front row. The other two days of the festival were likely devoted to dithyrambic contests until 487/6 BC, when comic poets were officially admitted to the agons and eligible for their own prizes.Mastromarco, Giuseppe: (1994) Introduzione a Aristofane (Sesta edizione: Roma-Bari 2004). p.
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In 1927 Hippolyte Fierens Gevaert put forward Timotheus of Miletus, a Greek musician and dithyrambic poet born 446. Gevaert held that the portrait was a commemoration of a court artist who had recently died and that the classical reference was intended to flatter his memory. Panofsky largely went with this position in 1949. He speculated that the sitter was the celebrated musician Gilles Binchois, by 1430 a canon at St. Donatian's Cathedral, Bruges.
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The work is now regarded as one of the most significant in contemporary piano literature. Dancer-choreographer Martha Graham requested permission to choreograph a solo piece on the Piano Variations. With Copland's consent, she produced Dithyrambic, an evocation of Dionysus that was received with the highest enthusiasm . Copland admitted to being "utterly astonished that anyone could consider this kind of music suitable for dance ... although her choreography was considered as complex and abstruse as my music" .
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Cinesias (; c. 450 – 390 BC) was an innovative dithyrambic poet (an exponent of the "new music") in classical Athens whose work has survived only in a few fragments. An inscription indicates that he was awarded a victory at the Dionysia in the early 4th century (IG 2/32.3028). His contemporary, the comic poet Aristophanes, ridiculed him in his play The Birds, in which Cinesias attempts to borrow wings from the birds as an aid to poetic inspiration.
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One of the first known actors was an ancient Greek called Thespis of Icaria. Writing two centuries after the event, Aristotle in his Poetics () suggests that Thespis stepped out of the dithyrambic chorus and addressed it as a separate character. Before Thespis, the chorus narrated (for example, "Dionysus did this, Dionysus said that"). When Thespis stepped out from the chorus, he spoke as if he was the character (for example, "I am Dionysus, I did this").
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Likymnios of Chios (, ) was an ancient Greek dithyrambic poet from Chios, probably born in the fourth century BC although this is not certain. Aristotle mentions him in his "Rhetoric", saying that Likymnios' works were as good in written form as spoken or better. He is also mentioned by Chaeremon of Alexandria. One of his poems, a prayer for health, was preserved by Sextus Empiricus, although the attribution is uncertain and it might be by another poet.
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That title might fairly be claimed for Rutilius, unless it be reserved for Merobaudes. Of the many interesting details of the poem, a few may be mentioned here. At the outset, there is an almost dithyrambic address to the goddess Roma, "whose glory has ever shone the brighter for disaster, and who will rise once more in her might and confound her barbarian foes". The poet shows as deep a realization as any modern historian that the greatest achievement of Rome was the spread of law.
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He was born at Stensbruk in Östergötland on 20 June 1791. In 1825 he published Babels Torn ("The Tower of Babel"), a satire, and a comedy, Argus in Olympen; and in 1828 two volumes of poems. In 1829 he was appointed to an ecclesiastical post in Stockholm, which he held until his death. In a series of odes and dithyrambic pieces, entitled Mollberg's EpislJar (1819, 1820), he strove to emulate the wonderful lyric genius of K. M. Bellman, of whom he was a student and follower.
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Cakes may have been consumed for religious reasons as well as secular. Philoxenus of Cythera describes in detail some cakes that were eaten as part of an elaborate dinner using the traditional dithyrambic style used for sacred Dionysian hymns: "mixed with safflower, toasted, wheat- oat-white-chickpea-little thistle-little-sesame-honey-mouthful of everything, with a honey rim". Athenaeus says the charisios was eaten at the "all-night festival", but John Wilkins notes that the distinction between the sacred and secular can be blurred in antiquity.
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Athenaeus, xiv. 617 Hyporcheme was closely related to the satyric drama by the humorous character which it often assumed, and dithyrambs by its ancient choruses of Satyrs. Pratinas may perhaps be considered to have shared with his contemporary Lasus of Hermione the honor of founding the Athenian school of dithyrambic poetry. Some interesting fragments of his hyporchemes are preserved, especially a considerable passage in Athenaeus which gives an important indication of the contest for supremacy which was then going on both between poetry and music, and between the different kinds of music.
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The following relationship has been described by C. H. Josten as having an effect on Ashmole that "cannot be overrated". Whatever date they met, Backhouse and Ashmole enjoyed a valuable mentorship in this period. Ashmole, so overjoyed by this adoption, composed a dithyrambic ode (an excerpt of which is printed, left) upon the occasion. C. H. Josten has interpreted this ode as signifying Ashmole's link, through Backhouse, to "a long chain of alchemical ancestry, who, from Hermes onwards, transmitted their secrets only by oral tradition to their spiritual sons".
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The first of these was Les Femmes de la Révolution (1854), in which Michelet's natural and inimitable faculty of dithyrambic too often gives way to tedious and not very conclusive argument and preaching. In the next, L'Oiseau (1856), a new and most successful vein was struck: The subject of natural history, a new subject with Michelet to which his wife introduced him, was treated, not from the point of view of mere science, nor from that of sentiment, but from that of the author's fervent pantheism. Van Gogh inscribed Sorrow with the words "", which translates to How can there be on earth a woman alone, abandoned? from "" L'Insecte followed.
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Aristotle also outlines two kinds of rhetorical proofs: enthymeme (proof by syllogism) and paradeigma (proof by example). Aristotle writes in his Poetics that epic poetry, tragedy, comedy, dithyrambic poetry, painting, sculpture, music, and dance are all fundamentally acts of mimesis ("imitation"), each varying in imitation by medium, object, and manner. He applies the term mimesis both as a property of a work of art and also as the product of the artist's intention and contends that the audience's realisation of the mimesis is vital to understanding the work itself. Aristotle states that mimesis is a natural instinct of humanity that separates humans from animals and that all human artistry "follows the pattern of nature".
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He lived for some time at the court of Archelaus of Macedon, and died there in around 412 BC. His high reputation as a poet is intimated by Xenophon, who makes Aristodemus give him first place among dithyrambic poets, alongside Homer, Sophocles, Polykleitos and Zeuxis, as the chief masters in their respective arts (Xenoph. Mem. i. 4. §. 3), and by Plutarch, who mentions him, with Simonides and Euripides, as among the most distinguished masters of music (Non posse suav. vivi sec. Epic. 1095d). Melanippides did not, however, escape the censures which the old comic poets so often heap upon their lyric contemporaries for their corruption of the severe beauties of the ancient music.
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In 1781, Pinkerton moved to London, where his full career as a writer began in earnest, publishing in the same year a volume of Rimes of no great merit, and Scottish Tragic Ballads. These were followed in 1782 by Two Dithyrambic Odes on Enthusiasm and Laughter, and by a series of Tales in Verse. Under the title of Select Scottish Ballads he reprinted in 1783 his tragic ballads, with a supplement comprising Ballads of the Comic Kind. Joseph Ritson pointed out in 1784 that the so-called ancient ballads were some of them of modern date, and Pinkerton admitted that he was the author of the second part of Hardy Kanute and part- author of some others.
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In Ion, Socrates gives no hint of the disapproval of Homer that he expresses in the Republic. The dialogue Ion suggests that Homer's Iliad functioned in the ancient Greek world as the Bible does today in the modern Christian world: as divinely inspired literary art that can provide moral guidance, if only it can be properly interpreted.Gilbert, Kuhn pp. 40–72 With regards to the literary art and the musical arts, Aristotle considered epic poetry, tragedy, comedy, Dithyrambic poetry and music to be mimetic or imitative art, each varying in imitation by medium, object, and manner.Aristotle, Poetics I 1447a For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, and poetry with language.
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Marsyas Ill-Treated by the Muses by Jacob Jordaens, Mauritshuis in The Hague Marsyas was an expert player on the double-piped double reed instrument known as the aulos. The dithyrambic poet Melanippides of Melos ( 480-430 BC) embellished the story in his dithyramb Marsyas, claiming that the goddess Athena, who was already said to have invented the aulos, once looked in the mirror while she was playing it and saw how blowing into it puffed up her cheeks and made her look silly, so she threw the aulos away and cursed it so that whoever picked it up would meet an awful death. Marsyas picked up the aulos and was later killed by Apollo for his hubris. The fifth-century BC poet Telestes doubted that virginal Athena could have been motivated by such vanity.
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Historians know the names of many ancient Greek dramatists, not least Thespis, who is credited with the innovation of an actor ("hypokrites") who speaks (rather than sings) and impersonates a character (rather than speaking in his own person), while interacting with the chorus and its leader ("coryphaeus"), who were a traditional part of the performance of non-dramatic poetry (dithyrambic, lyric and epic).Banham (1998, 441–444). For more information on these ancient Greek dramatists, see the articles categorised under "Ancient Greek dramatists and playwrights" in Wikipedia. Only a small fraction of the work of five dramatists, however, has survived to this day: we have a small number of complete texts by the tragedians Aeschylus, Sophocles and Euripides, and the comic writers Aristophanes and, from the late 4th century, Menander.
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Immediately above was the logeion, a roof to the proskenion, which perhaps functioned as a high stage. On this second storey and set back from the logeion is conjectured to be the episkenion whose facade was punctured with several thyromata or apertures where the pinakes or painted scenery would have been displayed. The date of this change devolves onto the question of the date at which the action of the drama transferred from the orchestra to the raised stage, and by analogy with other Greek theatres of the period and the direction of influence between Athens and the other cities. Wilamowitz arguesGöttingische Gelehrte Anzeigen, 1906, p.614 that Dithyrambic contest ended with the choregia in 315,Lara O’Sullivan, The Regime of Demetrius of Phalerum in Athens, 317–307 BCE, Brill, 2009, p.168.
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The selection opens with the "Nytårsouverture" (New Year's Overture), marking the start of 1921 in a grand, dithyrambic prose poem divided into sections with musical markings: Maestoso, Grave, Andante, and so on, and describing the writer's experience of the Faroe Islands—which are at the center of everything he wrote—at the beginning of 1921. There is then a gap until mid-1922, when there follows, in a completely different vein, a lengthy, humorous account of French student life in Grenoble, in which Jacobsen shows his skill at instant characterization. Yet, even Grenoble is constantly compared with Tórshavn: the sunrise, the grass on the bastion, the mist-covered mountaintops—all of these images give the reader a sense of the author's homesickness. The following section consists of letters written at the end of 1922 and beginning of 1923, by which time Jacobsen had been diagnosed as suffering from tuberculosis.
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The western face of the Doric temple of Hephaestus, Agora of Athens. At last, Dionysus fetched him, intoxicated him with wine, and took the subdued smith back to Olympus on the back of a mule accompanied by revelers - a scene that sometimes appears on painted pottery of Attica and of Corinth.Axel Seeberg (1965) Hephaistos Rides Again. The Journal of Hellenic Studies, 85, pp. 102-109, describes and illustrates four pieces of Corinthian painted pottery with the themeA black red-figure calpis in the collection of Marsden J. Perry was painted with the return of Hephaestus (Eldridge, 1917, pp 38-54).L. G. Eldridge (1917) An Unpublished Calpis. American Journal of Archaeology, 21.1, pp 38-54 (January–March 1917). In the painted scenes, the padded dancers and phallic figures of the Dionysan throng leading the mule show that the procession was a part of the dithyrambic celebrations that were the forerunners of the satyr plays of fifth century Athens.
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Born in Pantin, Chaignaud studied singing with Régine Crespin and Gabriel Bacquier at the Conservatoire de Paris, then entered the École d'Art Lyrique of the Paris Opera where he participated in the master classes of Christa Ludwig and Hans Hotter. After making his debut in 1988 at the musical May in Bordeaux and at the Ossiachersee Festival in Austria, he was hired by Herbert von Karajan for the role of Silvano in Un ballo in maschera by Verdi, along Plácido Domingo, Josephine Barstow and Sumi Jo, recorded for Deutsche Grammophon (1989). A staging by John Schlesinger of this production, this time under the baton of Sir Georg Solti, is directed for the Salzburg Festival in 1989 and 1990 and also filmed (Arthaus/TDK, 1990). His training with the German mezzo-soprano Christa Ludwig is decisive for her career, as she recounts in her memoirs "My voice and me" during a dithyrambic passage on the talent of this baritone of a "very beautiful voice" and who "sings well with musicality".
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In another view on the etymology, Athenaeus of Naucratis (2nd–3rd century CE) says that the original form of the word was trygodia from trygos (grape harvest) and ode (song), because those events were first introduced during grape harvest. Writing in 335 BCE (long after the Golden Age of 5th- century Athenian tragedy), Aristotle provides the earliest-surviving explanation for the origin of the dramatic art form in his Poetics, in which he argues that tragedy developed from the improvisations of the leader of choral dithyrambs (hymns sung and danced in praise of Dionysos, the god of wine and fertility): In the same work, Aristotle attempts to provide a scholastic definition of what tragedy is: There is some dissent to the dithyrambic origins of tragedy, mostly based on the differences between the shapes of their choruses and styles of dancing. A common descent from pre- Hellenic fertility and burial rites has been suggested. Friedrich Nietzsche discussed the origins of Greek tragedy in his early book The Birth of Tragedy (1872).
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