Mo styled by the Romans "Ionic movements." derate dancing was even deemed worthy of the gods themselves. Jupiter, "the father of gods and men," is represented dancing in the midst of the other deities; and Apollo is not only introduced by Homer thus engaged, but received the title of opxnoτns, "the dancer," from his supposed excellence in the art. In early ages, before the introduction of luxury, it was an innocent recreation; and, as Athenæus † observes, "becoming of persons of honour and wisdom; " but extravagant gesture corrupted its original simplicity ‡, and "no part of the art connected with music," says Plutarch §, "has, in our time, suffered so great a degradation as dancing." S, Fearing lest it should corrupt the manners of a people, naturally lively, and fond of gaiety, and deeming it neither a necessary part of education, nor becoming a person of sober habits, the Egyptians forbade those of the higher classes to learn it as an accomplishment, or even as an amusement; and, by permitting professional persons to be in violin and tambourine, singing and repeating verses. They were formerly learned women, whence their name Eulmeh, who rehearsed poetry, and danced to amuse the inmates of a haréem. Their general appellation at the present day, Ghowázeh, is derived from Ghoos (warriors), a title of the Memlooks, at whose festive meetings they used to dance, and through whom they have lost the consideration they formerly enjoyed. • Hor.: "Motus doceri gaudet Ionicos Athen. i. 19. Matura virgo Od. lib. iii. 6. 21. Dancing was highly approved of by Socrates, as being conducive to health. Plut. de Sanit. troduced into their assemblies, to entertain the guests, they sanctioned all the diversion of which it was supposed capable, without compromising their dignity. They dreaded the excitement resulting from such an occupation, the excess of which ruffled and discomposed the mind; and it would have been difficult, having once conceded permission to indulge in it, to prevent those excesses, which it did not require the example of Asiatic nations to teach them to foresee. If those who were hired to perform, either in public or in private, transgressed the bounds of moderation, or descended to buffoonery, it might excite the contempt of those it failed to please, yet the beholders were innocent of the fault; and any word or action, offending against the rules of decency, might be checked by the veto of their superiors. In private, in particular, they were subject to the orders and censure of the persons by whom they were employed; and, consequently, avoided any gesture or expression which they knew to be unwelcome, or likely to give offence to the spectators; and thus no improper innovations were attempted, from the caprice of a performer. They consulted the taste of the party, and adapted the style of dance and of gesture to those whose approbation they courted: it is not, therefore, surprising that excesses were confined to the inferior class of performers, at the houses of the lower orders, whose congenial taste welcomed extravagant buffoonery and gesticulation. Grace in posture and movement was the chief object of those employed at the assemblies of the rich; and the ridiculous gestures of the buffoon were permitted there, so long as they did not transgress the rules of decency and moderation. Music was always indispensable, whether at the festive meetings of the rich or poor; and they danced to the sound of the harp, lyre, guitar, pipe*, tambourine, and other instruments, and, in the streets, even to the drum. Many of their postures resembled those of the modern ballet; and the pirouette delighted an Egyptian party upwards of 3500 years ago.t The dresses of the female dancers were light, and of the finest texture, showing, by their transparent quality, the forms and movement of the limbs they generally consisted of a loose flowing robe, reaching to the ankles, occasionally fastened tight at the waist; and round the hips was a small narrow girdle, adorned with beads, or ornaments of various colours. Sometimes the dancing figures are represented without any indication of dress, and appear to have been perfectly naked; but it is difficult to say if this is intentional, or if the outline of the transparent robe ‡ has been effaced; and it is sometimes so faintly traced as scarcely to be perceived, even when the paintings are well preserved : for we can scarcely suppose that a highly civilised * Conf. Matt. xi. 17. "We have piped unto you, and ye have not danced." + Vide wood-cut, No. 237. The Greeks also represented the contour of the figure, as if seen people, like the Egyptians, were so depraved as to admit, or to allow their artists to record, a dance of naked women, in the presence of men, or that the priesthood would permit such exhibitions. Slaves were taught dancing as well as music; and in the houses of the rich, besides their other occupations, that of dancing to entertain the family, or a party of friends, was required of them; and that free Egyptians, who gained their livelihood by their performances, were also engaged at private parties, is evident from the paintings, where they are distinctly pointed out, by having the usual colour of their compatriots. Some danced by pairs, holding each other's hands; others went through a succession of steps alone*, whether men or women; and sometimes a man performed a solo to the sound of music, or the clapping of hands. † Feats of agility and strength were frequently exhibited on these occasions, with or without the sound of music. Some held each other by the hand, and whirled round at arms' length, in opposite directions ; some lifted each other off the ground in various difficult attitudes, and attempted every species of feat, which could be performed by agility or strength; but as these enter more properly under the denomination of games, I shall not introduce them here, but shall notice them in another place, with the gymnastic exercises of the Egyptians. * Vide wood-cut, No. 238. Vide wood-cut, No. 240. + Vide wood-cut, No. 239. |