attained immense popularity, and his successor Kleon 'won more crowns than any other mortal.' But after their time the purely instrumental auletic form was preferred.

ADONIDIA.

Adonis-songs were sung by women, whose grief at the death of Adonis symbolized the transitoriness of the loveliness of nature. Primarily they were an importation, by way of Kypros, from Phoinikia (adonai 'lord'; cf. Jerem. 22. 18 "They shall not lament for him, saying, Ah lord! or Ah his glory!"). In Syria and Phoinikia they appear as songs of lament to the music of the flute. The 'Αδωνίδια were celebrated in midsummer at Athens, where there was a special festival for women, at Sikyon, at Alexandria, Byblos, Antioch, and many other places till a late period. At Athens, Adonis was represented by the figure of a wooden doll, which the women laid out for interment on the roofs of the houses. The celebration moved the scorn of the comic poets (Kratin. 15, of the poet Gnesippos: ὃν οὐκ ἂν ἠξίουν ἐγὼ | ἐμοὶ διδάσκειν οὐδ ̓ ἂν εἰς Αδώνια). The 'Αδωνιάζουσαι of Theokritos (idyl 15) depicts the rejoicing of the women at Adonis' return from Acheron, after his sojourn there for a year, and his reunion with Aphrodite, and alludes to their sorrow at his enforced departure. The Adonis-lays of the people have been completely lost, since at an early period the poets treated the same theme: Sa. xxiii., & TÒV "Adoviv Frag. 63, 108 (whence the Adonic verse), the Adonis of Praxilla, which was perhaps the source of the famous ἐπιτάφιος ̓Αδώνιδος of Bion, which was intended for the second day of the Adonis festival at Alexandria under Ptolemy Philadelphos. Cf. Aristoph. Lysistr. 393, 396. The bucolic poets were especially fond of the legend.

IOBACCHOS.

The iobacchoi, which take their name from the initial exclamation iò Bákye,2 were originally sung at the sacrifices and festivals of the god Dionysos (ioßákxela). Though they were different from the dithyramb, of their contents we know little, since only a few isolated lines have been preserved. Proklos says that they were 'soaked in the insolence of Dionysos.' Their introduction into literature seems to have been due to Archilochos, who may have been influenced by Thrakian folk-songs. The metrical form was a syncopated (asynartetic) iambic tetrameter (or iamb. dim. acatal. + troch. dim. catal.): Anμntos ἁγνῆς καὶ κόρης τὴν πανήγυριν σέβων (Archil. 120). The trochee, we are told, was first used in the festivals of Dionysos and Demeter. The iobacchic measure appears in Eupol. 356, Mel. Adesp. 51, and in Aristoph. Aves 1755, which Westphal regards as an example of the joyous tone of the thiasos. Pindar is reported to have composed ẞaкxiká, which are not to be regarded as iobacchoi.

HYPORCHEME.

The name róрxnμa dance-song,' which occurs for the first time in Plato Ion 534 c, is not adapted to distinguish the hyporcheme from the other forms of choral melic that were accompanied by orchestic evolution. The structure of the word, however, indicates that there was a closer engagement between the

1 See Bentley on Hor. Sat. 1. 3. 7 Io Bacche.

2 ló varies with lú as ié with in.

3 Lübbert de Pind. carm. dram. trag. 13 thought the Bakxiká were songs for Dionysiac ToμTaí. Probably the name is a late interpolation.

dance and the theme than was usual in other choral songs.1 Though our knowledge of ancient dancing is too fragmentary for us to distinguish accurately between the orchestic mimic that characterized the hyporcheme and that of the dithyramb, it is clear that, to the later writers at least, such as Plutarch,2 the hyporcheme appeared to form the link connecting the sister arts of poetry and dancing. It bodied forth in words what was pourtrayed by the sympathetic rhythm and the pantomimic dance. When stress is laid upon a lively mimetic and scenic representation of the words, the text tends to become a mere accessory; and such seems to have been the character of the hyporcheme at Sparta in the earliest period. A passage in Athenaios (628 D) informs us that the name

1 vπó in composition here, as often, denotes that the action in question is performed under another's influence or as an accompaniment to another action. Το interpret ὑπορχ. simply as a dance that accompanied music ignores its distinctive quality. Strictly speaking, the hyporcheme is a dance accompanying another dance, as is described below; but in the absence of the words ὕπασμα, ὑπῳδή it was early transferred to songs that were accompanied by the dance. Proklos 246 says ὑπόρχημα τὸ μετ ̓ ὀρχήσεως ᾀδόμενον μέλος ἐλέγετο καὶ γὰρ οἱ παλαιοὶ τὴν ὑπό ἀντὶ τῆς μετά πολλάκις ἐλάμβανον. So, quoting Archil. 123 (ᾄδων ὑπ ̓ αὐλητῆρος), the schol. on 492 and Aristoph. Aves 1426 say vπó=μerά (cf. Eur. I. A. 1036 ff.). So we have vжacidw, Kallim. 4. 304, 'sing to the accompaniment' (of the dance), T' avλòv ädovтes Plut. de aud. 7, αὐλήσει χρῆσθαι καὶ κιθαρίσει πλὴν ὅσον ὑπὸ ὄρχησίν τε καὶ ᾠδήν Plato Laws 669 Ε, ὑπὸ τὴν ᾠδὴν κρούειν, the technical expression of instrumental accompaniment. πopXeîolaι occurs first in Aisch. Choeph. 1025, where the metaphorical use bespeaks the antiquity of the word. Hes. Shield 282 has παίζοντες ὑπ ̓ ὀρχηθμῷ καὶ ἀοιδῇ. Besides ὑπό, the foll. prepositions are used of musical accompaniment: eis, év, κατά, περί, πρός.

2 Quaest. Symp. 9. 15. 2 (748 Β) ὀρχηστικῇ δὲ καὶ ποιητικῇ κοινωνία πᾶσα καὶ μέθεξις ἀλλήλων ἐστί, καὶ μάλιστα μιμούμεναι περὶ τὸ ὑπορχημάτων γένος ἐνεργὸν ἀμφότεραι τὴν διὰ τῶν σχημάτων καὶ τῶν ὀνομάτων μίμησιν ἀποτελοῦσι.

originated from the custom observed by the early poets, who arranged dances for freeborn men and made use of orchestic figures only as emblems of what was sung, 'always preserving the principles of nobleness and manliness in them.'

The hyporcheme was called Cretan (Sim. x.) because it was native to Crete, whence Thaletas introduced it into Sparta in the middle of the seventh century. Crete was the chief seat of the artistic dance, and it was there in connection with the cult of Zeus and particularly of Apollo that the graphic and vivacious hyporchematic dance was invented and practised by persons of noble birth. In part akin to the paian, which was also sacred to Apollo and from which it may not have been differentiated in the early period, the hyporchematic song gave expression to foreboding or to joy; but it was unlike that more solemn and religious chant in its rapid and fiery melodies and rhythms. The paian's province was, originally at least, the severer aspect of the cult of Apollo; whereas the hyporcheme celebrated the more joyous character of the god (ὀρχήστ ̓ ἀγλαΐας ἀνάσσων Pind. Frag. 148). Plutarch says that by the rhythm alone he could distinguish a hyporcheme from a paian. In the paian the dance was subordinate because it was performed by the singers, more stately, and devoid of pantomime; and the singing was simpler. The musical modes of the hyporcheme were probably the Phrygian and the Dorian.

A hyporcheme is, as we have seen, both a song and a dance. To the sportive hyporchematic dance, one of the three technical divisions of melic orchestic and in a measure akin to the kordax of comedy, most of the hyporchematic poems were sung; but at times they were attended by the pyrrhic,1 a dance of Cretan

1 Athen. 630 E, schol. Pind. Pyth. 2. 127.

origin and similar to the hyporchematic but more akin to the sikinnis of the satyr play. There were at least two different modes of presentation:

1. One person played and sang, while the rest danced. This is the hyporchematic manner' which the ancients recognized in 0 262, where the minstrel Demodokos with the phorminx takes his position in the centre, while around him are grouped the youths δαήμονες ορχηθμοιο. This form of the hyporcheme was not common in later times, though Kallim. 2 offers some analogies to it.

2. The usual form, described by Lucian de salt. 16 as existing in Delos in his own day, may be of high antiquity. One or more musicians played, a selected number of the best dancers gave full plastic expression to the theme,2 while the larger body, which sang, accompanied the music with a sedate orchestic movement. It is in connection with this form that ὑπόρχημα and ὑπορχείσθαι acquired their purely technical signification. The presence of the first body, consisting only of dancers and officiating in conjunction with the chorus, distinguishes the hyporcheme from all other forms of melic. The dance was performed about the altar during the sacrifice of the victims.

1 Cf. Hymn 2. 10 ff. In Σ 593 ff. (a Cretan scene) one played and sang, a chorus' of youths and maidens danced, while in the centre there were two tumblers. In Heliod. Eth. 3. 2 the chorus is divided into two groups, one of which sang while the other danced. Livy 7. 2 describes the innovation of Livius Andronicus where pantomime accompanied the music. The geranos or crane-dance, which was instituted by Theseus in Delos on his return from Crete and still witnessed by Plutarch, may have been of the hyporchematic type. Its turnings and windings imitated the hero's escape from the mazes of the labyrinth. The dancers were arranged in files with leaders at each of the two wings.

2 Cf. Athen. 15 D . . . ἐστὶν ἡ τοιαύτη ὄρχησις μίμησις τῶν ὑπὸ τῆς λέξεως ἑρμηνευομένων πραγμάτων, and Arist. Poet. 1. 6.